Anthology magazine issue 04 Autumn 2017

AUTUMN €3.50 AUTUMN 2017 2017 #04 #04 €3.50 £2.50£2.50

FASHION FASHION

TRAVEL TRAVEL

ARTS ARTS

LIFESTYLE LIFESTYLE

Diana: Fashion Diana: Her Her Fashion Story • Balenciaga: Story • Balenciaga: Shaping Fashion Shaping Fashion

Exploring the Kerry Exploring the Kerry Kingdom Magic Kingdom • The• The Magic of Venice of Venice

Iwona Lifsches Iwona Lifsches • • Vermeer the Dutch Vermeer and and the Dutch Golden of Painting Golden AgeAge of Painting

a Well-Dressed TipsTips for afor Well-Dressed Power BedBed • The• The Power of of Good Posture Good Posture

Autumn 2017 Issue 04

12 sprin g 2016 a n t h o lo g y

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Welcome to Anthology Issue 4

A

s the bright bursts of summer flowers fade, a majestic palette of scarlet red, glowing yellow, bright orange and sparkling gold creates the masterpiece that is the autumn landscape.

In this issue, we visit the National Gallery of Ireland, which has recently reopened after a six-year refurbishment. To mark to occasion the museum is hosting ‘Vermeer and the Masters of Genre Painting’, an exhibition that has already visited the Louvre in Paris and is going on to the National Gallery of Art in Washington. One of its highlights is the NGI’s own Woman Writing a Letter with her Maid, considered by many to be one of Vermeer’s most outstanding compositions.

We visit London’s V&A where the work of the Spanish couturier Cristóbal Balen-

ciaga is being celebrated. Also in London, Kensington Palace is staging ‘Diana: Her fashion story’ and hosting a new temporary white garden to mark twenty years since the death of Princess Diana.

The fabulously colourful paintings of naïve artist Iwona Lifsches feature in our cover story, and we highlight a selection of work by artists and craft makers based in County Kerry.

The beautiful county of Kerry is also one of our featured travel destinations, as is the magical city of Venice.

We hope you can take the time out from the hectic pace of today’s world to relax, read, recharge and enjoy Anthology’s ‘collection of beautiful experiences’.

Edel edel@anthology-magazine.com

ANTHOLOGY PUBLISHING Limerick, Ireland

ON THE COVER The fabulously colourful paintings of naïve artist Iwona Lifsches depict simple, easily understood and often idealised scenes of everyday life with a touch of melancholy and humour (p. 60)

SUBMISSIONS

EDITOR

ANTHOLOGY welcomes submissions – ideas, musings or long-form narrative – and is keen to publish serious reportage. All we ask is that the pieces are previously unpublished. Pitches to: info@anthology-magazine.com

ART EDITOR

PHOTOGRAPHY

Edel Cassidy

DESIGNER

From styled fashion shoots and portraiture to architecture, high-quality photography is what ANTHOLOGY aims to bring to every issue. We are happy to view work. Link or PDF to: info@anthology-magazine.com

COPY-EDITOR

SUBSCRIPTIONS

Ros Woodham Lynne Clarke

Averill Buchanan

CONTRIBUTORS

Orna O’Reilly Weber, Róisín Cassidy, Ros Woodham, Louise Higgins, Dolores O’Donoghue, Tom Weber

ANTHOLOGY is a quarterly publication with a focus on beautiful features and imagery from Ireland and around the world. Subscribe to avail of delivery directly to your door. Email: info@anthology-magazine.com ISSN: 2009-9150

ADVERTISING

Gail Fean, Mary Hayes: advertising@anthology-magazine.com Printed by Warners Midland plc Distributed by EMNews

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The publisher accepts no responsibility for any of the views expressed or claims made by contributors or advertisers. While every care is taken to ensure accuracy of information contained in Anthology, we do not accept responsibility for any errors or matters arising from same. No part of this publication may be used or reproduced without written permission from the publishers.

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contents

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10 EXHIBITION Diana: Her Fashion Story 18 EXHIBITION Balenciaga: Shaping Fashion 26 HEALTH The Power of Good Posture 28 TRAVEL Kerry: Exploring the Kingdom 42 TRAVEL Amazing Staycations 48 INTERIORS Tips for a Well-Dressed Bed 56 BUSINESS Creating Innovators 58 BEAUTY Strong Foundations

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60 PORTRAIT Iwona Lifsches: Painter and Illustrator 68 ART The Benefits of Viewing Art 70 FEATURED HOTEL Ireland: Ballyfin Demesne 74 FASHION Reclaim the Classic Suit 76 FASHION Autumn 2017 Highlights 84 ART Vermeer and the Dutch Golden Age 91 BEAUTY Signature Scent 92 TRAVEL The Magic of Venice

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84 92

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Diana, Princess of Wales (1961-1997) with sons William (top) and Henry (Harry) in 1989

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arts

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culture

Diana: Her Fashion Story

An exhibition commemorating the life of the princess brings back some of her most memorable outfits to Kensington Palace, her home of fifteen years. words edel cassidy

T

his year marks the twentieth anniversary

Charlotte, will be reminded of some of her best

of Princess Diana’s passing. She was a

qualities – kindness and compassion – and her

woman whose beauty, style and wardrobe

positive impact in Britain and around the world.

caught the world’s attention until her tragic death on 31st August 1997.

An exhibition commemorating the life of the

Princess Diana was one of the most famous women of the twentieth century. She combined the allure of royalty with the fascination of

princess brings back some of her most memo-

international celebrity, and the press loved to

rable outfits to Kensington Palace, her home of

comment on every detail of her life and style.

fifteen years. The exhibition, Diana: Her Fashion

The princess crafted her public image carefully

Story, gives the public unprecedented access

and soon learned how to use it to engage and

into the wardrobe of the ‘people’s princess’.

inspire people all over the world.

Princess Diana may have captured the world’s

The exhibition and garden remind us of her

attention as a style icon, but during her time in

evolution as a princess, trendsetter, humanitarian

the public eye, she was also a prominent philan-

and woman, whose ability to connect with people

thropic force. She worked tirelessly on behalf of

remains powerful today.

charities, using her fame to raise awareness of

There really only was and is one Diana.

several important humanitarian issues.

Her sons, Prince Harry and Prince William,

Diana: Her Fashion Story is at Kensington

William’s wife, the Duchess of Cambridge, and

Palace until 28 February 2018.

their children, Prince George and Princess

www.hrp.org.uk/kensington-palace ANTHOLOGY AUTUMN 2017 11

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RIGHT: Detail of a red day suit designed by Catherine Walker (1996). Princess Diana wore this suit at a public engagement launching the HIV/Aids Charity London Lighthouse appeal. Walker would go on to provide the great majority of Diana’s most photographed clothes.

BELOW: A black lace and magenta silk evening dress designed

by Victor Edelstein (1987). This dress was worn during an official visit to Germany in 1987. While the Princess had a vast collection of formal jewels, she loved to experiment with costume jewellery. She paired this dress with a long string of fake pearls. Victor Edelstein designed this dress so that the fine black lace lay over the magenta silk, creating a rich bronze colour. Photo credit: Richard Lea-Hair.

LEFT: A pale pink chiffon blouse with a satin neck-ribbon designed by Emanuel. Lady Diana Spencer wore this blouse in her first official portrait, photographed by Lord Snowdon as an ‘upcoming beauty’ for Vogue (February 1981). The publication coincided with the engagement announcement, and ‘Lady Di’ blouses promptly sold out on the high street. Diana loved the blouse so much that she asked designers David and Elizabeth Emanuel to design her wedding dress.

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aRTs

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cUlTURe

BELOW: Bodice detail of a green silk dress designed by Catherine Walker in 1992. Diana, Princess of Wales, wore this dress to a dinner held on the occasion of a Malaysian state visit at the Dorchester Hotel, London. The dress was lent to the exhibition

by Museo de la Moda.

ABOVE: An ice-blue silk gown with beading designed by Gianni Versace (1991). Prince Diana wore this gown for a Harper’s Bazaar photo shoot with Patrick Demarchelier in 1991. As Princess of Wales, Diana had adopted the royal tradition of wearing clothes by British designers. Following her separation from The Prince of Wales, her royal duties ended and she started to work more frequently with international designers. The Italian designer Gianni Versace was a favourite. Photo credit: Richard Lea-Hair.

ABOVE: Room 2 of the exhibition at Kensington Palace. Entitled ‘Creating a Style’, this room reflects Princess Diana’s early fashion choices of pastel colours, lace and frills. Photo: Richard Lea-Hair.

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Memorial Garden

T

he exhibition of some of the princess’s most iconic outfits is accessed via a memorial garden, The White Garden, which evokes memories of the carpet of flowers left outside the palace by thousands of shocked mourners after her death. The garden has been planted

with flowers and foliage inspired by Diana’s life, style and image. Along with the predominant white and cream colour scheme, pops of yellows, pinks, deep purples and silver also feature.

The palace’s current head gardener, Sean Harkin, said a lot of research had gone into the design. ‘I wanted to create something that was very simple and elegant and I used the dresses in the exhibition for inspiration – the white has a theme of radiance and glowing,’ said Mr Harkin.

‘In addition to using the dresses as inspiration we did some research into Princess Diana’s favourite flowers. The theme is that feeling of joyful celebration, so we have included accents colours.’

The white colour scheme symbolises so many words one could use to describe Princess Diana: elegance, peace, honesty and perfection, to name but a few. The delicate white blossoms communicate that wonderful combination of thoughtful love and elegance.

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Balenciaga: shaping fashion

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ARTS

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CULTURE

How Cristóbal Balenciaga’s exquisite craftsmanship and innovative designs shaped modern fashion WORDS EDEL CASSIDY

K

nown as ‘the master’ of haute

influential Spanish couturier, with over 100

couture, Cristóbal Balenciaga

pieces crafted by ‘the master’, his protégées

was one of the most innovative

and contemporary fashion designers who

and influential fashion designers of the

work in the same innovative tradition.

opposite: Lisa Fonssagrives-Penn wearing coat by Cristóbal Balenciaga, Paris, 1950. Photograph by Irving Penn © Condé Nast, Irving Penn Foundation

last century. His exquisite craftsman-

beloW: Bolero jacket, EISA, Spain, 1947 © Museo Cristóbal Balenciaga

London, is currently staging an exhibition

time with her while she worked. When he

showcasing the work and legacy of the

was still a teenager, the Marchioness de

Cristóbal Balenciaga was born in Ge-

ship and pioneering use of fabrics revo-

taria, a small fishing village in the Basque

lutionised the female silhouette, setting

province of Gipuzkoa, northern Spain,

the tone for modern fashion.

on 21st January 1895. His mother was a

The Victoria and Albert Museum,

seamstress, and as a child he often spent

Casa Torres, the most prominent woman of his town, became his customer and patron, and sent him to Madrid, where he was formally trained in tailoring.

Balenciaga was successful during his early career as a designer in Spain. He opened a boutique in San Sebastián, then branches in Madrid and Barcelona. The Spanish royal family and the aristocracy wore his designs, but he closed his business when the Spanish Civil War broke out. He moved to France and opened his Paris couture house on Avenue George V in August 1937. His first runway show featured designs heavily influenced by the Spanish Renaissance. Throughout his career, the dynamic shapes and sumptuous fabrics that were Balenciaga’s hallmarks were greatly inspired by his love for the traditional costumes of his native Spain.

Wherever he went, Cristóbal Balenciaga sparked passions. Perhaps the words of colleagues best reflect the essence of the designer from Gipuzkoa. Christian

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right: Dovima (left) with Sacha, cloche and suit

by Balenciaga, Café des Deux Magots, Paris, 1955.

Photograph by Richard Avedon © The Richard Avedon Foundation

Dior said, ‘he was a master for all of us’, and Hubert de Givenchy called him ‘the architect of haut couture’. Coco Chanel described him as ‘a couturier in the truest sense of the word’, adding ‘the others are simply fashion designers’.

He is not associated with a signature outfit, like Coco Chanel, nor with a pivotal moment, like Christian Dior and the ‘New Look’ of 1947. Undoubtedly, he made one of the most important contributions to the history of fashion: the introduction of a new silhouette for women, broadening the shoulders and removing the emphasis on the waist. He favoured fluid lines that allowed him to alter the way clothing related to a woman’s body.

He introduced the barrel line in 1947, a liberating, cocoon-shaped silhouette that added volume around the waist and had a narrow hemline, the semi-fitted look in 1951, a perfectly fitted suit at the front with excess volume at the back, the balloon skirt in 1953, the tunic dress in 1955, and the sack dress in 1957. His baby-doll dress, introduced in 1958, was free of any curves or emphasis, with a puffy low-waist

He was also renowned for his unique hats.

skirt, and he was also the creator of the

A long-time client said of Balenciaga,

peacock-tail dress, referred to nowadays

‘Women did not have to be perfect or

as the double-length dress. He intro-

even beautiful to wear his clothes. His

duced collars that stood away from the

clothes made them beautiful’.

collarbone to give a swan-like appearance,

The V&A exhibition examines Balen-

and the shortened, seven-eighths-length

ciaga’s work from the 1950s and 1960s –

bracelet sleeve, so called because it ena-

arguably the most creative period of his

bled the wearer to show off her jewellery.

career – when he dressed some of the

above: (Left) Model wearing Balenciaga orange coat as I. Magnin buyers inspect a dinner outfit in the background, Paris, France, 1954 © Mark Shaw, mptvimages.com; (Right) Spiral hat, silk, Balenciaga for Eisa, Spain, 1962 © Victoria and Albert Museum, London. opposite: Flamenco-style evening dress, Cristóbal Balenciaga, Paris, 1961. Photograph by Cecil Beaton, 1971 © Cecil Beaton Studio Archive at Sotheby’s

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arts

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culture

‘Haute Couture is like an orchestra whose conductor is Balenciaga. We other couturiers are the musicians and we follow the direction he gives.’

– Christian Dior

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arts

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culture

left: Evening dress, silk taffeta, Cristóbal Balenciaga, Paris, 1955 © Victoria and Albert Museum, London

most famous women of the era. Exam-

by one of the world’s wealthiest women,

ples of Balenciaga’s revolutionary shapes

Mona von Bismarck, who commissioned

from this period will be on display – the

everything from ballgowns to gardening

tunic, sack, baby-doll and shift dress-

shorts from the couturier.

es – all of which remain style staples

Alongside these iconic garments are

today. Other highlights include ensem-

archive sketches, patterns, photographs,

bles made by Balenciaga for Hollywood

fabric samples and catwalk footage, pro-

actress Ava Gardner, dresses and hats

viding a unique insight into Balenciaga’s

belonging to socialite and 1960s fashion

salons and workrooms.

icon Gloria Guinness, and pieces worn

The second part of the exhibition explores the lasting impact of Balenciaga, tracing his influence through the work of over thirty fashion designers across the last fifty years. Pieces designed by Balenciaga’s former apprentices, André Courrèges and Emanuel Ungaro, demonstrate a signature minimalist aesthetic, recently revived by Phoebe Philo for Celine and seen in the strong lines of J. W. Anderson. Balenciaga’s perfectionism and attention to detail are reflected in the work of Hubert de Givenchy and Erdem.

His pattern cutting and explorations with volume can be seen in the work of Molly Goddard and Demna Gvasalia, while his creative use of new materials is referenced in the work of former Balenciaga creative director Nicolas Ghesquière.

Balenciaga: Shaping Fashion will show at the V&A, London, until 18 February 2018.

opposite: Evening gown and cape, ziberline, Cristóbal Balenciaga, Paris, 1967 © Victoria and Albert Museum, London

above: Evening dress, Cristóbal Balenciaga, Paris, 1962. Photograph

by Cecil Beaton, 1971 © Cecil Beaton Studio Archive at Sotheby’s

next page: Alberta Tiburzi in ‘envelope’ dress by Cristóbal Balenciaga, Harper’s Bazaar, June 1967 © Hiro 1967

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Strike a Pose

The power of good posture

Maintaining good posture while standing, walking, sitting and even lying down is a key component of everyday good health, and is as important as a healthy diet, adequate sleep or exercise

words dolores o ’ donoghue

A

s many people today spend more

practised repeatedly, the body’s structure

and more time hunched over digi-

slowly changes and adapts to it, resulting

tal devices, it’s practically impossi-

in misalignment, muscle tension and pain.

ble to avoid the ‘slumping forward’ posture

It can even be responsible for permanent

most people adopt. When combined with

changes to the structure of the spine.

more traditional activities that position the body into forward-leaning positions, such

Among the benefits of a balanced and aligned posture are:

driving, reading and ironing, it’s becoming increasingly difficult to avoid long-term health

Breath management: A well-aligned torso

issues that are caused by bad posture.

helps to open the airways and ensure

Sustaining good posture ensures that

proper breathing, which allows enhanced

the body is symmetrically aligned and that

oxygen flow in the cardiopulmonary sys-

the tension in muscles and ligaments is

tem. The blood will have an ample supply

properly distributed. It keeps the body

of oxygen to carry to the nervous system,

parts in their rightful positions with

organs and other tissues, which enables

minimal stress. When poor posture is

them to function more effectively.

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lIFesT Yle

Circulation and digestion: When it comes

for longer periods with minimal exhaustion.

Sitting properly:

to the digestive system, proper pos-

There will also be less stress on ligaments,

ture helps to keep your internal organs,

and the risks of injury or incurring chronic

◊ Keep your feet on the floor or a

particularly those within your abdomen, in

conditions such as arthritis are minimised.

their natural position without undue com-

foot rest if they don’t reach the floor ◊ Don’t cross your legs, and keep the ankles in front of the knees

pression, so the normal flow and function

Increased confidence: Amy Cuddy,

of the gastrointestinal apparatus can

from the Harvard Business School, has

function properly. This will prevent certain

completed extensive research on how

of the seat, and have knees at or

digestive problems, from acid reflux to

our nonverbal behaviours affect not only

below hip level

constipation, and even hernias.

the way people perceive us but also

◊ Have your backrest support the

how we perceive ourselves. In her 2012

◊ Keep a small gap between the

back of your knees and the front

entire back

Appearance: Avoiding slouching can

TedTalk she recommends a simple exer-

make you look taller, slimmer and

cise: assume a ‘power posture’ for just

younger. Slumping and slouching curves

two minutes each day to improve your

ground

the spine forward, creating rolls on the

destiny. She explains how expansive, open

stomach and causing it to protrude. When

postures reflect high power, while narrow,

◊ Avoid sitting in the same position

you lengthen into good posture, the abs

closed postures reflect low power. In fact,

become engaged and compressed, which

studies show that people who adopt high

Standing properly:

immediately makes you appear three to

power poses increase their feelings of

five pounds lighter, and your clothes will

dominance, risk-taking, power and even

◊ Ensure that weight is borne primar-

look a lot better.

pain tolerance, and at the same time reduce anxiety and the production of

Reduced stress on muscles and joints: When bones and joints are correctly aligned

cortisol (the stress hormone).

While it is good to be conscious of

it enables muscles to coordinate in a more

posture to a certain degree, sustaining

efficient manner. This ensures that the body

good posture should not require constant

uses less energy, thus reducing muscle

self-monitoring. To encourage good pos-

fatigue, and allows tasks to be undertaken

ture in a natural way, here are some tips:

◊ Maintain relaxed shoulders, with

forearms at a parallel position to the

for long periods of time

ily on the balls of the feet

◊ If you have to stand for a long time, shift weight from toes to heels, or from one foot to the other ◊ Arms should hang naturally down the sides of the body

◊ Stand straight and tall, with shoulders pulled backwards

◊ Earlobes should be in line with the shoulders

◊ Do not push the head forward, backwards or to the side

Proper lying position: ◊ Comfort is important; a firm mat-

tress is generally recommended, but some find a soft one may be more comfortable ◊ Always use a pillow to support

the natural curve of the neck and shoulders ◊ Avoid sleeping on your stomach

because the spine can be put out of position For those of us who just aren’t as well aligned as we should be, these tips can help prevent pain and boost well-being, but anyone with serious posture issues or pain should consult a doctor.

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Hidden Kingdom Ros Woodham recruits some fellow classic Land Rover enthusiasts to explore the lesser-known parts of County Kerry in the Southwest of Ireland WORDS AND PHOTOS ROS WOODHAM

T Viewpoint at the top of the Coomanaspic Pass overlooking Portmagee and Valentia Island

he coast, lakes and mountains of

seen when you deviate from these paths.

County Kerry have become the

Bog land and rocky headlands dotted

rugged picture-postcard image of

with isolated cottages will have you

Ireland overseas. Touring routes, such as

singing the theme tune to Father Ted in

the legendary Ring of Kerry and the Wild

your head, while the welcome of an Irish

Atlantic Way, are well known and well

pub with live traditional music and local

established, but there’s far more to be

dishes will warm you to the core.

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travel

Harold McMillan, Luke Whelan and Clíona Curran drove their respective Series III

away our tyre marks. The eyesore that

World Heritage site. The larger of the two

Land Rovers from Dublin to our cottage

is Waterville Beach Hotel perches on

rocks stands 218 metres above sea level

in Limerick to join us in exploring some

the western headland. It was built in the

and hosts the remains of a sixth-century

of the lesser-travelled roads in County

seventies but closed down in the eighties.

monastic settlement that was continually

Kerry. The county has been nicknamed

A redevelopment plan ten years ago was

occupied until the end of the twelfth cen-

‘The Kingdom’, but the origins of that

later abandoned following the collapse of

tury. The monks lived in beehive-shaped

are unclear. Some say it’s to do with its

the Celtic Tiger.

huts and lived off fish, birds and the limited

particularly strong resistance to Protestant

We left the beach at the estuary of the

vegetation they were able to cultivate on

rule, while others believe the name was in

River Rinny and continued in a westerly

the rock. You can visit this incredible mon-

place long before the English invasion.

direction. Resisting the temptation to wan-

astery, although you’ll need a sturdy pair

der into the chocolate factory at St Finian’s

of sea legs, even on a calm day – Atlantic

one weekend, so we chose to concentrate

Bay, we paused to look out towards the

waters really batter the tiny boats, the only

on the Iveragh Peninsula. Our journey be-

Skellig Islands. These remarkable pyra-

vessels licensed to land on the island.

gan in Foynes on the River Shannon, made

mid-shaped rocks lie eight miles offshore

We continued along the Skellig Ring,

famous as the site chosen by Pan Am

and are a designated Natural Reserve and

climbing steeply over the Coomanaspic

Kerry is far too big to experience fully in

Airlines to land the first transatlantic passenger flights by flying boat. The Foynes Flying Boat Museum is a fantastic cultural experience which captures perfectly this romantic era. In 1939 the Yankee Clipper flew 2,000 miles from New York to Foynes in just over twenty-five hours, slashing passenger travel time between the two countries by a full eight days. There is a full-scale replica fuselage included in the museum’s excellent displays.

top: The docks at Foynes, Co. Limerick. left: Full-size replica of the Yankee Clipper at the Foynes Flying Boat Museum. above: A traditional way of life for Kerry fishermen.

We passed through Farranfore, which marks the beginning of the scenic but

Railways arrived in Kerry in the 1850s and a

now disused train ride to Valentia Harbour.

number of lines were established, reaching as far as Dingle, Cahersiveen and Kenmare.

right: A sign (or two) that we have hit the popular Ring of Kerry route. below: The lighthouse at Cromwell Point viewed from the slate quarry on Valentia Island.

This line was closed in 1960 but is fondly remembered by the locals who say that the Kerry landscape can no longer be viewed from the best perspective. Along the coast, overlooking Dingle Bay, you can still see the tunnel system cut into the side of the mountain and the impressive viaduct. A feasibility study is currently in progress to assess the viability of reinstating the line, which could become one of the most scenic attractions in Western Europe.

We arrived in Cahersiveen, the capital of the Iveragh Peninsula, then convoyed through the narrow bog roads towards Reenroe beach. The tide was out and the long stretch of sand was essentially ours for the afternoon. Harold took the lead, charging towards the water line, chancing a salt-water rinse, closely followed by Luke and Clíona. The three Land Rovers finally settled in front of the dunes where we enjoyed tea and sandwiches, watching the tide reclaim the beach and wash ANTHOLOGY AUTUMN 2017 29

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Pass to the viewpoint overlooking Portmagee and Valentia Island. After descending, we crossed the bridge to the island, passing the Skellig Visitors’ Centre from where most of the Skellig tours depart.

A wonderful forested route climbs up to the slate quarry overlooking the lighthouse at Cromwell Point on the north of the island. Its entrance is now marked

by Our Lady’s Grotto. The quarry was first opened by the Knight of Kerry in 1816 and remained operational for a hundred years, exporting roof slates for buildings such as the Opera House in Paris and the Houses of Commons and Lords in London. In 1998 the quarry was reopened by Valentia Slate Ltd, a consortium of local businessman.

From Knightstown we caught the ferry

Transatlantic Cable

The first commercially viable transatlantic telegraph cable was laid from Valentia Island. The idea of a communications cable was first proposed in 1845, but the distances and depths presented formidable problems resulting in several failed attempts. Finally, in 1866, a huge ship – Brunel’s Great Eastern – successfully laid a cable stretching the 1,686 nautical miles between Valentia and Newfoundland, a cable that remained operational for the next 100 years. Before the first transatlantic cable was laid, communications between Europe and the Americas took place only by ship.

Sometimes, however, severe winter storms delayed ships for weeks. left: The Transatlantic Cable stretched 1,686 nautical miles between Valentia Island and Heart’s Content in Newfoundland. below: A cross-section of the cable.

back to the mainland; the pub next to the docks was an ideal spot for refreshments while waiting for the next boat. Then it was a short run back to the campsite as a stiff Atlantic breeze kicked up from the west. Mannix Point Camping is situated at the edge of Cahersiveen and has been run for the last thirty years by Mortimer who maintains the excellent facilities, including a music room where residents are below: Locally known McCarthy Mór Castle (or Ballinskelligs Castle) was used back in the 15th and 16th centuries to guard against pirates.

‘It is possible to visit this incredible monastery, although you’ll need a sturdy pair of sea legs, even on a calm day – Atlantic waters really batter the tiny boats.’

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actively encouraged to make some noise.

We pitched our tents right on the water’s edge and prepared a huge pot of pasta, sheltered from the wind.

above: (left) A ferry shuttle service connects Valentia Island to the mainland; (right) tourists flock to Ballinskelligs beach leaving Reenroe Beach for us. right: Arts and crafts on display at the Strawberry Field Pancake Cottage.

The view out of the tent the following morning was somewhat limited. It was a

planned for that day. We briefly joined the

‘soft’ day, as they say in Ireland – otherwise

Ring of Kerry to Waterville before turning

known as ‘misty’. The drizzle and low cloud

onto the Ballaghasheen Pass. Sadly, the

clung to the hillsides and showed no sign

views towards Carrantuohill – Ireland’s

of lifting. This was disappointing, as the

highest peak (1,038m) – were completely

back onto the Ring of Kerry. The exposed

most scenic sections of our route were

obscured by cloud; nevertheless, the sen-

landscape here is truly wild, suitable only

sational forest drive and remote location

for grazing the hardiest of sheep.

below: Kerry offers plenty of places to get in out of the weather. bottom: The World Heritage-recognised Skellig Islands can be seen from St Finian’s Bay.

were rewarding enough. We forded a

Before we reached the famous Moll’s

river before climbing, once more, into the

Gap, we stumbled upon the Strawberry

Ballaghbeama Gap that would lead us

Field Pancake Cottage. With worsening

‘Railways arrived in Kerry in the 1850s and a number of lines were established, reaching as far as Dingle, Cahersiveen and Kenmare.’ weather, this brightly coloured cottage appeared like a mirage out of the drizzle.

It is a lively, friendly arts and crafts centre which serves an incredible range of sweet and savoury pancakes. As we approached Moll’s Gap we were reminded of why it’s sometimes better to take the road less travelled: coach-loads of tourists plugged up the tiny lanes that wind past Ladies’ View and Muckross Lake leading into Killarney, Kerry’s tourist hotspot.

We parted company here. You need time to really experience Kerry, not just because there is so much to see, but also to have a day in hand in case the weather is against you. Each area of The Kingdom tells captivating stories of its own history and heritage, and it’s worth having the time to linger.

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June McIntyre

- Dingle ArtWorks Gallery

J

une McIntyre studied weaving at Winchester College of Art and Design before she married and moved to Dublin with her Irish husband. There, she worked as a dress designer/maker for a small upmarket shop on Anne Street and also for a number of productions at the Olympia.

The McIntyres returned to England in the Sixties where June continued her studies at Sussex University and obtained a B.Ed. Hons in teaching art and design. For twenty years she worked as an art teacher and head of faculty in a large Brighton comprehensive.

When her husband took early retirement from the sound broadcasting business, the family moved to the West Kerry Gaeltacht where the inspirational surroundings and a little help from the Celtic Tiger enabled her to open a gallery – Dingle ArtWorks, which is now run by her daughter, Louise McIntyre, an artist who works in papier mâché.

June is now enjoying the best part of her life, indulging herself by painting whatever takes her fancy, mostly working her images on silk with batik, dye and mixed media. Dingle ArtWorks stocks June’s originals, including oils, drawings and a few watercolours.

Also stocked are prints of most of her work, and exclusive gift cards.

Also on sale at the gallery is Scáil, a beautifully produced book of June’s prints, which are accompanied by verses by Dairena Ní Chinnéide, a poet from the West Kerry Gaeltacht of Corca Dhuibhne. The book is dedicated to the people of West Kerry.

Recently June has become intrigued by Ireland’s rich heritage of mystical legends and the opportunity they provide to work in an imaginative, decorative way.

Green Street, Dingle, Co. Kerry T: +353 66 915 2220 E: junemc@dingleartworks.com www.dingleartworks.com

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NU goldsmith T

he NU gallery has become a focal point for thousands of visitors to Dingle every year.

A native of Cashel, Co. Tipperary, Niamh Ni Mhathuna-Utsch, served her apprenticeship in Dublin and spent a further ten years working with master goldsmiths in Germany before she established her workshop and gallery in Dingle in 1996.

Niamh Utsch’s ever-changing collection of handcrafted jewellery is made of the finest materials.

Pieces include rings, bracelets, necklaces, cufflinks, bangles, brooches, earrings. Her style is very distinctive – bold, modern, often asymmetrical but always balanced, delicate yet strong. Her loyal and devoted clientele appreciate that every one of her pieces is unique. ‘Repetition is the death of creativity,’ says Niamh. ‘A handmade piece created by a master craftsperson has so much more meaning, both to the giver and the receiver, than a mass-produced product.’

Niamh’s ideas are inspired by the calmness that surrounds Dingle and its beaches, the gems she uses reflecting the different facets of colour that emanate from the landscape as the sun shines down.

Upper Green Street, Dingle, Co. Kerry E: nugoldsmith@gmail.com www.nugoldsmith.com

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Honora O’Neill at The Dillon Gallery

D

rawing inspiration from the ever-changing sea with its myriad colours, framed by the rugged coastline and spectacular skies of the Dingle peninsula, Honora O’Neill lives in and works from her studio in the village of Clogher.

A graduate of the Crawford College of Art and Design, Cork, she was awarded an Honours Bachelors Degree in Fine Art Painting, finishing among the top of her class. Her work is on permanent display at the Cork Institute of Technology and University College Cork where she won prizes for her work. She was awarded the Jack B. Yeats Young Artist Award for her extraordinary ability to execute seascapes. The Irish Times has described her as a ‘promising seascape artist’.

Honora works in oil on linen, and in acrylic on Fabriano paper.

Her oils are vibrant, echoing the multicoloured palette of the West Dingle coast, while her acrylic work is more understated, capturing the wildness of the surf in more muted shades.

Honora is happy to accept commissions to suit the needs of her patrons. She also selects a small number of paintings from which she produces Giclée prints on museum-quality German Hahnemühle 308 gram art paper, available for shipment globally.

Her paintings can be found in businesses and homes internationally.

Honora O’Neill Fine Art at The Dillon Gallery Green Street, Dingle, County Kerry Open daily during the summer or by appointment.

T: +353877780701 www.honoraoneill.com anthology autumn 2017 35

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The Purcell Gallery F

or decades, artists have been drawn to live and work in the heritage town of Kenmare, situated in an area of enchanting natural beauty bridging the Ring of Kerry and the Ring of Beara. Many of these artists now exhibit at the Purcell Gallery.

Interpretations of the local landscape, from representational to abstract, form a major part of the work on display in the gallery.

This work shows the range of personal responses to the surrounding beauty, from bustling townscapes by John Lawrence to the ever-changing palette in the mountainscapes by Rosemary Purcell, the gallery owner.

Situated on the Wild Atlantic Way, the ocean and the weather influence much of the work, including Joop Smith’s breathtaking skies, Geraldine O Sullivan’s dramatic seascapes and John Morris’s glistening days on the beach.

The atmosphere in the gallery is relaxed and welcoming. Visitors to Kenmare are invited to enjoy the world-class creativity of artists in the area. Rosemary Purcell is continually seeking new artists and work to show in the gallery, and offers regular solo exhibitions in the first floor space, in addition to the work by gallery artists on view throughout the year.

The Purcell Gallery, 28 Main Street, Kenmare, Co. Kerry T: 064-6679890, E: purcellgallerykenmare@gmail.com www.purcellgallerykenmare.com, www.facebook.com/PurcellGalleryKenmare/

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Martine Moriarty - It Must Be Dingle

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A warm welcome awaits you at Martine’s Gallery at Gortadubha, Ballyferriter, ten kilometres west of Dingle on the south-west coast of Ireland.

Artist Martine Moriarty has an honours BA in Fine Art and generally paints in oils, but can work in all mediums. She also is commissioned to do lots of interior design work, including mural and wall art. She also makes leaded windows and doors, and bespoke hand-painted ceramics.

Having a great interest in the natural landscape and scenery that surround her, Martine’s subjects are mainly the animals and countryside of the Dingle Peninsula, with colourful landscapes featuring in many of her paintings. While painting, she surrounds herself with a motley crew of rescue animals, including dogs, cats, sheep, horses, hens and tropical fish.

She has lived on the Dingle Peninsula for twenty-five years, raising her two sons there, both now grown up. She loves the way of life, which offers plenty of opportunities to enjoy the outdoors.

She can’t imagine living anywhere else.

Customers visit Martine’s Gallery from all over the world.

Star Wars did some filming a few hundred yards from her house last year, and Martine sold a painting to ‘Mrs Skywalker’.

Commissions of all kinds are welcome.

It Must Be Dingle Gallery is located beside the Ceann Sibeal Golf Course in Gortadubha, Ballyferriter.

T: +353 (0)66 9156508 - E: martine@itmustbedingle.com www.itmustbedingle.com

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CAROL CRONIN SEASCAPES

The Carol Cronin Gallery, Upper Green Street, Dingle, Co. Kerry Tel: 086 103 1074 • • www.carolcronin.com 38_Carol_Cronin.indd 38

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Heaven Earth on

The Ring of Kerry & Dingle Peninsula along the Wild Atlantic Way

WORDS TOM WEBER PHOTOS TOM WEBER , INSIGHT VACATIONS

I

t’s the longest coastal driving route in

Passing by Caherdaniel, we

all of Europe. Snaking 2,500 km around,

head through Coomakista Pass,

through and over jagged-rock defences,

where the views out over Ken-

it battles constantly against the powerful

mare Bay to the Scariff and Deen-

Atlantic Ocean along Ireland’s rugged and

ish Islands are just sublime, and

majestic western seaboard. It’s the epic

then down into Sneem, a colourful

Wild Atlantic Way, the adventurous and

little village known affectionately

winding route dotted with killer views and

as the ‘Knot in the Ring of Kerry’,

iconic locales, like the Ring of Kerry (the

where we stop for lunch and

Ring) and Dingle Peninsula.

another photo op.

I’m already enjoying the views of this

We bid adieu to the incom-

planned two-day journey and we’ve barely

parable Ring and make our way

left our base camp at Killarney, gateway to

back to Killarney, stopping long

the Ring and Ireland’s most tourist-friend-

enough to admire Ladies View, a

ly town. But before we take on County

picturesque spot made famous

Kerry’s biggest draw, we pause long

by Queen Victoria. As our guide

enough at Aghadoe Heights to admire the

explains, ‘During a royal visit to Co.

postcard-perfect scenes spread out below:

Kerry by Her Majesty back in 1861,

Killarney National Park, with its lakes and

her ladies-in-waiting were brought

islands, and Carrauntoohil, the central

to this very spot and were imme-

peak in the Macgillycuddy Reeks range and

diately awestruck by the stunning

Ireland’s highest mountain (1,038 m).

panorama. Ergo, Ladies View.’

top: Panoramic view of Killarney National Park and the Macgillycuddy Reeks from Aghadoe. above: Local musician entertains the tourists on his squeezebox. RIGHt: A ‘jaunting car’, a horse-drawn carriage, in Killarney National Park

Rugged and untamed, the Ring is

In 1970, Academy Award-winning direc-

one of the country’s most beautiful

tor David Lean spent nearly a year working

regions. Around every bend in the road

on Ryan’s Daughter, an epic romantic drama

a new panorama comes into view, each

about a scandalous affair between a mar-

one just a bit more fantastic than the

ried Irish woman and a British Army officer

previous one, like Ballinskelligs Bay, where

during World War I. Some of the most

we take five and stroll along the beach at

memorable scenes from that movie were

stretch of land that juts straight out into

Waterville. It’s a picturesque seaside village

shot just below where I’m standing in the

the Atlantic, has long been a destination for

where Charlie Chaplin and his large family

early morning light on the Inch Strand along

individuals who crave a quiet, remote place

vacationed for many a summer. In his

the rugged and majestic Dingle Peninsula. I

to enjoy their alternative lifestyles. I can see

honour, a statue of the Little Tramp looks

pan left to right with my camera, much like

why as we come to a full stop at a lay-by

out to sea and the town hosts the annual

Lean’s distinguished cinematographer Fred-

along Slea Head Drive. From here, with

Charlie Chaplin Comedy Film Festival.

die Young did with his Super Panavision 70

Mother Nature providing us with a spec-

film rig nearly half a century ago.

Dingle Peninsula, a fifty-kilometre

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top: Torc Waterfall in Killarney National Park. above: Delightful canapé of local smoked salmon, ham and cream cheese. left: You’ll find the locals are most welcoming.

We continue our serpentine weave down, passing by panoramas that are just

‘Around every bend in the road a new panorama comes into view, each one just a bit more fantastic than the previous one’

jaw-dropping, like Sybil Head and The Three Sisters. It was here that Charles Lindbergh first crossed land while flying solo at the controls of the Spirit of St. Louis on that historic, transatlantic nonstop flight on 21st May 1927.

Dingle, a major tourist hub on the peninsula and its only town, is where we drop anchor in a large parking lot fronting the harbour, glistening in the high-noon sun. Quaint and

tacularly clear day, we take in Dunmore

While a laid-back musician serenades

cosmopolitan in the same breath, the town is

Head – the westernmost point of Ireland

us with Irish tunes on his flute, Kristen, an

lined with colourful storefronts and attracts

and the absolute edge of Europe – and the

expat from Boston, offers our group slices

creative souls from around the globe.

view out to the Blasket Islands. Glancing

of her delicious homemade flapjacks that

One last push up and over Conor Pass,

left, back across the bay, where the skies

she sells out of the back of a white panel

the country’s highest ridge, and we wave

are not as pleasant as those above us, we

van. These flapjacks are tray-baked crum-

goodbye to the Dingle Peninsula. Together

get to admire a sliver of sunlight shining

bles made with oats, butter, brown sugar

with the Ring of Kerry, these two natural

down on the darkened sea fronting the

and a variety of fruit, like the rhubarb-gin-

treasures of Ireland are simply heaven on

silhouette of the Ring in the distance.

ger-apricot combo I’m relishing.

earth along the Wild Atlantic Way. ANTHOLOGY AUTUMN 2017 41

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Amazing Staycations Irish destinations perfect for an autumn break

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ou’re not alone if you find the idea of a foreign holiday rather trying and are considering a staycation for your autumn break. Ireland is a really happening, buzzy destination with lots to do, and offers a range of exciting choices for domestic holiday makers.

Motives for considering a staycation are varied, but among the big drivers are: avoiding the stress of airports and foreign travel, concerns about our carbon footprint, and a realisation that in the rush to see foreign countries we have neglected exploring our own beautiful island.

Here are some great reasons why having a stay-at-home vacation can be better than going on a holiday overseas.

Food and Drink

The quality and variety of food produced here in Ireland rivals that of the world’s best gourmet food destinations. We have lots of delights to offer the discerning foodie. Whether it’s the freshly caught seafood or locally reared meat that takes your fancy, you won’t taste anything better by flying abroad.

Stress Free

Airports are not good for anxiety sufferers, and even the most seasoned traveller can feel a twinge of fear. Before you’ve even got to the airport, your passport can go missing, or your printer will run out of ink just when you need your boarding

pass. And what if you get stuck in traffic on the way? Then there are the crowds, the security and the queues. All of this stress can be removed by choosing an Irish destination.

No Luggage Restrictions

Pack away to your heart’s content when not flying. There’s no fear of exceeding the weight limit. You can bring as many toiletries as you like. Shop ‘til you drop because no one will measure or weigh

your bags as you arrive or leave, and there will be no worry about the possibility of lost luggage.

Last-Minute Convenience

If you’re able to get away at the last minute and fancy a short break, then a staycation is the ideal answer. It’s usually easy to book at short notice with very little organisation.

Over the following pages you will find some amazing options for staycation breaks.

Castlemartyr Resort

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or a romantic getaway, the luxurious Castlemartyr Resort is a splendid way to spend time together this autumn. Nestled in the scenic environs of East Cork, the resort is set on 220 acres of mature, rolling parkland, speckled with meandering streams and glistening lakes, and offers a wealth of picturesque and secluded spots for romantic strolls.

Whether it’s in the Bell Tower Restaurant, the elegant Knights Bar, the Clubhouse, or Franchini’s Italian Restaurant, our delicious cuisine enhances the easy-going feel of the entire hotel.

A haven of relaxation, the wrap-around glass frontage surrounding the twenty-metre swimming pool and water room gives unbeatable views of the country estate.

With ten treatment rooms, including a jet pool, aromatherapy, sauna, and vitality loung¬e, the Spa at Castlemartyr features a gorgeous line of ESPA and Germaine de Capuccini products.

Castlemartyr Resor Castlemartyr, Co. Cork T: 021 421 9000 E: info@castlemartyrresort.ie www.castlemartyrresort.ie

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The Falls Hotel

Ennistymon

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t the heart of the Wild Atlantic Way, just ten minutes from the majestic Cliffs of Moher, is the Falls Hotel and Spa, nestled in a wooded vale beside the tumbling waters of the River Inagh in the quaint town of Ennistymon, Co. Clare.

Set in fifty acres of grounds, the hotel is perfectly located for visitors to soak up all the natural attractions – from Loop

Head to the Burren and the Cliffs of Moher Geopark – and there are wonderful riverside and woodland walks.

The award-winning luxurious River Spa is a haven within the Aqua and Fitness Club. Make sure you leave time for its Thermal Suite and stunning relaxation room! The Club itself has a twenty-metre swimming pool, outdoor hot tub and gym.

The hotel is privately owned and managed by the McCarthy family and you will always receive a warm and friendly welcome.

You can reach The Falls Hotel and Spa on: T: 065 707 1004, www.fallshotel.ie.

Waterford Castle Hotel & Golf Resort

E

scape to a private island where a historic luxury castle hotel combines the gracious living of an elegant past with every modern comfort.

Our lodges are a perfect option for family getaways, romantic escapes or golf weekends in Ireland’s ancient east.

Offering spacious accommodation, the lodges are three-bedroomed, each with a private balcony.

Activities include golf on a championship course, miles of walkways, clay pigeon shooting, falconry and croquet.

There are exciting opportunities for kids to have fun and explore, including an outdoor playground, ping pong table and kids’ club on special dates.

The island is home to the resident deer and lots of wildlife, including hares, hedgehogs and red squirrels. Many wild birds can be seen such as owls, peacocks, pheasant, kingfishers and swans.

Idyllic seclusion and privacy but con-

veniently located, a few minutes from Waterford City centre and ninety minutes from Dublin or Cork.

A two night’s stay in a three-bedroom luxury garden lodge only €185

Waterford Castle Hotel & Golf Resort The Island Waterford Ireland Tel: +353 (0) 51 878 203 www.waterfordcastleresort.com anthology autumn 2017 43

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Inchydoney Island Lodge & Spa

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verlooking two magnificent stretches of Blue Flag beach just outside the pretty heritage town of Clonakilty in West Cork, Inchydoney Island Lodge and Spa is a warm and welcoming seaside hotel. Guests can enjoy exquisite dining in the relaxed and attractive beach-side ambience of the Gulfstream Restaurant, luxuriate in Ireland’s first seawater spa, admire striking, unique furniture from local designer maker Joseph Walsh, and view original paintings, drawings, sculpture and pottery in a hotel that has respect for, and is sensitive to, its environment.

The Spa offers thalassotherapy as well more traditional treatments. Guests have complimentary access to the therapy pool, where seawater is pumped daily from the ocean and heated to thirty-one degrees.

The hotel is committed to supporting the arts, and treats its guests to interesting pieces by Irish artists. Throughout the hotel are works by Kevin Sharkey, Declan O’Connor, Graham Knuttel, Colin Flack, Matt Grogan and lots more.

Having invested significant sums in innovative environmental heating systems and one of the largest solar arrays in Ireland, this hotel takes seriously its position as caretaker and guardian of its immediate environment on beautiful Inchydoney Island.

Inchydoney Island Lodge & Spa Clonakilty, West Cork T: +353 23 88 33143 www.inchydoneyisland.com

The Harbour Mill Westport

T

his unique hotel alternative is located in the Quay area of Westport, nestling in the shadow of the majestic Croagh Patrick and overlooking the harbour.

Set within a beautifully reconstructed eighteenth-century cut-stone mill, the four-star rated apartments provide the perfect holiday retreat.

Settle into one of the well-appointed apartments with views of the courtyard or harbour and enjoy all the comforts of your home away from home. Each apart-

ment has two bedrooms, two bathrooms and a spacious open-plan kitchen, dining and living area.

The apartments provide the space, independence and privacy to come and go as you please. Friendly and helpful staff are on hand if needed, courtesy of the 24-hour reception. The team at Harbour Mill are happy to offer recommendations on local attractions and activities, or will welcome you if you simply want to stop by for a friendly chat.

For further information: T: +353 98 24100 E: info@theharbourmill.com www.theharbourmill.com

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tRaVEl

Connemara Sands Hotel

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boutique resort hotel with a private Blue Flag beach and stunning views across the aquamarine Atlantic Ocean, the Connemara Sands Hotel is the perfect place to discover Ireland for the first time, or rediscover it like never before. Located in the tranquil and unspoiled Mannin Bay, with wonderful scenery, there is lots for the kids to do, magnificent food to enjoy and the best customer service you will find.

Celebrating ‘Connemara on a Plate’ at Erriseask Restaurant The cocktail bar is the perfect spot to

deeply moisturise the skin. The spa also has a choice of other treatments such as therapeutic massage, scrubs and hydrating body wraps.

Your special day

relax before dining and enjoy an expertly prepared, delicious evening cocktail. The restaurant is inviting and comfortable, with views over the bay, and is designed in a funky New England style. Guests are treated to a masterclass by Executive Chef Stefan Matz and Head Chef Sinead Quinn as they prepare the exquisite food from the theatre-style kitchen.

Sands Seaweed Spa To experience pure luxury, unwind in a Voya Seaweed Bath containing hand-harvested seaweed, certified organic, to detoxify, alleviate aches and pains, and

The exceptionally dedicated wedding team understand how special your wedding day is and will ensure it will be as memorable as possible, from the finest of food to the smallest of details. Each couple is assigned a dedicated wedding planner. Some of the important extras offered include: • Full use of gardens and the private white sandy beach for photographs • Elegantly dressed candelabras and centrepieces • Personalised souvenir menu cards and table plan Ballyconneely, Clifden, Co. Galway T: +353 95 23030 E: reservations@connemarasands-hotel.com www.connemarasands-hotel.com anthology autumn 2017 45

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A Charming ‘Old World’ Country House, full of History Conservatory Restaurant overlooks the Shannon and Fergus estuary and has the perfect ambience for a Romantic Dinner

h

Bedrooms are individually styled with antique furnishings, some with four poster beds in keeping with the character of this fine old country house

h

An ideal location for Weddings - catering from 20 to 100 people Newmarket-on-Fergus, Shannon, Co. Clare T: +353 (0) 61360500 E: info@carrygerryhouse.com www.carrygerryhouse.com

At the Heart of the Wild Atlantic Way

The Gateway to The Cliffs of Moher & Burren Geopark

WWW.FALLSHOTEL.IE | Tel: 065 7071004 | e-mail: reservations@fallshotel.ie

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Bedding Bliss

Tips for a well-dressed bed

WORDS LOUISE HIGGINS

PHOTOS PERFECT HEADBOARDS , ASPIRE DESIGN

We spend more time in our bedrooms than in any other room in the house – it’s our haven – so it’s important that it reflects our personal style and taste while also being conducive to sleep. With a few simple tweaks you can create a five-star luxurious bedroom in your own home.

The basics The first thing to consider is the bed itself, and the style and size of bed that you’d like. Space allowing, I suggest you go one size bigger than you think you need, as this will give extra leg room and aid a better night’s sleep. Bed styles to consider include wooden bed frames, upholstered headboards, cast iron bed frames, upholstered divan bases, bed bases with built in storage, etc. Remember that your bed takes centre stage in your bedroom, so it’s important to choose something that reflects your personality and gives your room that wow factor.

The next step is choosing the mattress. This is an area where it is essential to take your time and do some research. We move approximately sixty to seventy times a night, with up to a dozen full body turns, so the main things to consider are comfort and support. There are so many mattresses on the market nowadays and it’s often difficult to find the one that suits you best.

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INTERIORS

Louise Higgins, founder of Perfect Headboards and Aspire Design, is an award-winning designer and a graduate of the Interior Design Academy of Ireland. Louise is a full member of the Interiors Association and is also a member of the Crafts Council of Ireland. For further advice, contact Louise at 045-982265 or louise@aspiredesign.ie.

Beautiful sheets When it comes to bed linen, I usually recommend that you invest in the best you can afford.

Although I love Egyptian cotton, it’s important to remember that a higher thread count doesn’t always necessarily mean better fabric.

Points to look for are the quality of the yarn, its weave, and any embroidery detailing. When layering bed linen, I like to use a mattress protector, followed by a fitted sheet and then a freshly pressed flat sheet, followed by a duvet.

Perfect headboards Headboards can add instant drama and set the tone for your bedroom. Not only do they offer comfort when reading at night or watching TV but they also give you a blank canvas to create your own work of art. Perfect Headboards, based in Kildare, specialise in this area and will work with you to help you create something truly unique that suits your lifestyle and tastes. There are hundreds of fabrics to choose from and you can order and customise your headboard design online.

You can also choose to have matching valance sheets or a divan base made from the same fabric as your headboard to create a flawless look for your bedroom.

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Pillow mix To create an opulent look, I usually opt for four Oxford-style pillows and stack them, to create height and leave room for additional scatter cushions. You can be as adventurous as you wish. Six is the magic number, as this allows you to mix shapes, textures and prints.

Scatter cushions can be used to create a cohesive colour scheme and draw inspiration from existing decor, for example, from your curtain fabric, or a colour in featured wallpaper. To add further interest, add fringes or tassels. Texture is so important, so mix linens, velvets, cottons, silks, etc. to create an enviable well-dressed bed.

A silk pillowcase contains natural protein and amino acids, and can therefore help to counteract the signs of ageing and prevent the formation of sleep lines. It will not absorb moisture from the face, so night cream will work more efficiently.

Full coverage For extra luxury chose a duvet a size larger than the actual bed to ensure it falls nicely (and to end night-time fights over the duvet!). For a tailored look you can also tuck the duvet under the mattress. Stunning throws are the perfect addition to any bedroom. Not only do they provide extra warmth on cold nights, but they also create a design feature by adding further texture and depth. Consider layering a few throws for additional luxury and sophistication.

The extras A bed-end bench can create a stunning addition to a bedroom as it helps anchor the bed. It not only gives additional seating but it can also provide extra storage space. For example, a bed-end ottoman with a lift-up lid can be used to store your scatter cushions or bed linen.

A rug is another great way to inject some colour and artistic flair into the bedroom. It can also be a good starting point if you are struggling to decide on a colour scheme for the room, as you can choose the colours from the rug when choosing scatter cushions, etc.

Now that you have created your five-star bedroom, your biggest concern will be trying to drag yourself out of bed!

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INTERIORS

Halo Tiles & Bathrooms

H

alo Tiles and Bathrooms has been in business for over forty-five years, supplying tiles and bathrooms across the Irish market. Each brand, stocked across the network of twelve showrooms in Ireland, has been chosen for its unmatched quality, design and durability. Tiles are sourced from premium manufacturers in Italy, Spain and Turkey, and Halo Tiles prides itself on only bringing products with the highest quality certifications to its showrooms. Halo Tiles is the sole agent for Vitra in Ireland, the largest manufacturer of ceramic products

globally, and its vast range, coupled with the exquisite range of Gala bathrooms from Spain, offers limitless design possibilities.

The premium range of tile and bathroom solutions available from Halo Tiles and Bathrooms completes any living space, whether commercial or residential.

The collection is always growing, and we invite you to visit the collection at any of our showrooms nationwide or on the website www.halotiles.ie.

Flagship Showroom Tom Doyle Supplies, Camolin, Enniscorthy, Wexford.

S

pecialising in the supply, installation and restoration of high-quality wooden floors including bespoke parquet, Flooring Elegance is family-run business with twenty years’ experience in the flooring industry.

New and innovative products are constantly being sourced from around the world as advancements continue to be made in the ever-changing flooring industry.

The Flooring Elegance team collaborate with clients to create luxury interiors using new and reclaimed flooring, parquetry and panelling, and are committed to providing quality products within all project budgets. Installation professionals take pride in their work to ensure the final floor exceeds expectations.

Specialising in parquet, reclaimed flooring and panelling with character and history – a beautiful addition to any household.

To arrange a consultation: T: 046-9055884 - M: 086-1730605 www.flooringelegance.ie - info@flooringelegance.ie Beechmount Home Park, Navan, Co. Meath

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Come & see our beautiful boutique showroom

Tel: (064) 663 5344 Main Tralee Road, Killarney (2 miles outside Killarney formerly Moynihans Garage)

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• The premier tile and flooring shop in Munster • We have the most beautiful tiles and flooring handpicked by us • With over 30 years experience we will expertly guide you • Over 500 different tiles and flooring to choose from • No one comes close to our extensive choice and quality

Be different... just like us

15/08/17 00:24

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i nteriors

The Courtyard Kells L

ocated in a picturesque setting just outside Kells, Co. Meath, The Courtyard is a family-run treasure trove of interiors and gifts established in 1994

by Oonagh and Cara McLoughlin. With its beautiful stone courtyard buildings extending over two floors, The Courtyard specialises in charming, unique, handpicked, country-inspired gifts and home accessories. Also stocked is a variety of Irish-designed, Irish-made products from many individual suppliers all under one roof, from hand-thrown potteries like Nicholas Mosse, to Max Benjamin handpoured candles and solid perfume made with organic beeswax and essential oils.

The Courtyard is also the proud official stockist of Chalk Paint™, a decorative paint by Annie Sloan that is synonymous with furniture upcycling and that gives pieces a French-style or more rustic feel. The full range of products is stocked, from paints, waxes, lacquer, gold leaf, gilding waxes, natural bristle brushes or rollers.

Craft workshops are also on offer – our staff have been trained by Annie Sloan herself.

Quality pieces are available at affordable prices with a wealth of ideas to inspire.

You’re sure to find that special gift or little self-indulgent treat in a relaxing, stress-free shopping environment.

Relax by the open log fire in our tearoom with some artisan roasted coffee, tea and delicious homemade cakes, or perhaps enjoy a glass of wine.

A deposit will secure any item, complimentary gift wrapping is offered and there is ample free parking.

The recently launched website, www. irelandsshowcase.com, sells quality artisan Irish craft and design.

The Courtyard, Kells Cookstown House, Kells, Co. Meath (On Google Maps) Tel: 046-9240346 Open: Wed - Sat: 10am - 5.30pm Sunday and Bank holidays: 1pm - 5.30pm W : www.thecourtyardkells.com W : www.irelandsshowcase.com FB : www.facebook.com/TheCourtyardKells Insta: The Courtyard Kells

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‘Defined by luxury, designed for living’

By Appointment at: Conbu Interior Design, 24 The Crescent, Monkstown, Co Dublin 086 826 9995 l angela@conbudesign.com l www.conbudesign.com

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Creating

innovators

Does education prepare students for success in work and business?

I

t is now widely accepted that creativity

force us to turn our attention to logic,

WORDS EDEL CASSIDY

in order to cultivate creativity. His theory

is the most important core com-

reason and facts – we spend more of

petency for success in business,

our time dealing with reality and less

good workers rather than creative think-

outweighing even strategic think-

time playing in our imaginations.

ers. The upshot of this is that students

ing and integrity. Having the ability

Creativity expert Sir Ken

to come up with novel solutions to tough challenges, to create new prod-

Robinson challenges the way we educate our children.

ucts, systems or services, or to develop in-

He believes we need to

novative marketing concepts is what gives

radically rethink our

a company its competitive edge. Despite this, it is rare for businesses to encourage

school systems

is that we have been educated to become

with restless minds and bodies, far from being rewarded for their energy and curiosity, are ignored or even stigmatised, with terrible consequences. ‘We are educating people out

new ideas or risk-taking, or to allocate resources to new initiatives. Instead, the emphasis is usually on achieving goals and measuring performance, and on trying to improve by doing more of the same, leaving little time to step outside comfort zones and experiment with new ideas.

It is generally thought that creativity is something mysterious and elusive, something that can’t be taught. However, some would argue that creative thinking is a universal ability, within reach of us all, not a special gift endowed upon a lucky few.

Everyone is born with natural curiosity and imagination. Young children tend not to allow their ideas to be suppressed; everything is possible to them. But as we mature we allow negative thinking or our fears of being different to get in the way; we think too much and learn to be uncreative. We may still have creative ideas rolling around in our heads, but we self-censor in anticipation of criticism. Another reason many experts believe our natural creativity wanes is because education and social pressures 56 AUTUMN 2017 ANTHOLOGY

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business

of their creativity,’ Robinson says.

may be highly intelligent, artistic, athletic

There is, of course, a strong argument

or musically talented, they may struggle

for striking a balance. Companies that

grow to be adults they have become

to carry out a seemingly simple task such

concentrate solely on innovation are

frightened of being wrong because they

as remembering to do their homework.

inclined to be inefficient, while those that

have come from education systems where

While it is important that they develop

focus solely on output tend to have a high

making mistakes has been discouraged.

practical skills, equal weight should be

turnover of staff and workers suffering

They then go on to work in organisations

given to the arts, humanities and physical

from low morale. Companies that tend to

with the same ethos.

education.

excel encourage innovation and couple it

He believes that by the time children

Albert Einstein, who famously said

Some creativity experts also believe

with productivity.

So what can be done to counteract

‘Imagination is more important than

that business schools are on the wrong

knowledge’, had great disdain for the

track. For many years, MBA programmes

reduced creativity? Should we throw out

strict protocols followed by teachers. He

enjoyed climbing the rankings in ac-

the school books and rote-learning meth-

believed that the will to learn and the

ademic league tables and growing in

ods typically used to prepare students for

ability to think creatively was lost through

prestige. Today, however, these pro-

exams? Should students or employees

the practice of rote learning that is often

grammes face intense criticism because

be encouraged to let their minds wander

demanded of students.

they teach management principles that

rather than stay grounded in the class-

were developed during the industrial

room or in the workplace?

Research conducted in the US by

Research on creativity suggests that chil-

scientist and author George Land seems

dren should not be encouraged to give free

to support this. In 1968 he tested 1,600 children ranging from three to five years old using the same creativity test he devised for NASA to help select innovative engineers and scientists. He re-tested the same children at the age of ten, and again at fifteen, with some shocking findings.

At age three to five, the children scored ninety-eight per cent. When they reached ten, they managed thirty per cent, and by the time they were fifteen they scored

‘Young children tend not to allow their ideas to be suppressed by negative thinking for fear of being different, but as we mature it seems we learn to be uncreative’

rein to their imaginations at the cost of learning and understanding a subject. After all, it’s not possible to think outside the box until you fully understand what’s inside it. But it is imperative that teachers are encouraged to value creative thinking and allow students time to explore new ideas.

Creativity is a skill that can be cultivated by applying creative thinking processes such as questioning, exploring, imagining

just twelve per cent. The same test was

and experimenting. We all have the ability

given to 280,000 adults who achieved a

to develop our creative potential, but it takes hard work. Just like learning a sport,

dismal two per cent. revolution. While these practices may

for example, it requires practice to de-

five-year-olds are not equipped with the

work well for relatively obvious everyday

velop the right muscles and a supportive

other skills necessary to run an organi-

problems, such as optimising resources

environment in which to flourish. Finally,

sation. They have not yet developed the

and employees, they are not so effective

we should never allow the fear of making

executive functions and self-regulation

in managing the comparative uncertainty

a mistake or of getting something ‘wrong’

skills that enable them to plan ahead,

that comes with bringing new ideas to

to limit our possibilities. By playing it safe

market. This is why business schools are

or by conforming, we may miss out on

increasingly offering programmes that

surprising and magical discoveries.

However, creative as they may be,

to focus their attention, to remember instructions and to juggle multiple tasks successfully. Such is the emphasis on developing

teach innovation and creative thinking.

Of course, encouraging creativity is not

Consumers now have higher expec-

going to turn the average kid into a young

these kind of skills – ‘ex-

tations, and demand continual upgrades

Beethoven or Picasso, or the average

ecutive functions’ – that

and fresh ideas in everything from

business student into a Steve Jobs.

children who struggle

technology to how services are delivered.

It may be possible to teach and learn

with them or who develop

Modern consumers have set the bar high,

creativity, but you can’t teach genius. It’s

these skills later than their

putting businesses under constant pres-

more about encouraging the day-to-day

peers, are often labelled as

sure to come up with novel ways to do

creative thinking that can make students

having a ‘performance dis-

things at every level. As a result innova-

or a workforce more productive and,

ability’. So even though they

tion is a skill that is truly in demand.

ultimately, more fulfilled.

ANTHOLOGY AUTUMN 2017 57

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STRONG foundations Finding the right foundation can be a daunting task. It forms the basis of your entire look and therefore it’s crucial to get it right words róisín cassidy

When choosing a foundation, not only is it essential to find the correct shade, but it’s equally important to get the formulation that works best for you. A lightweight luminous finish will work for some, while others will want full coverage. Thaere are countless formulas and finishes to choose from, and various recommended techniques for applying them. Here are some of my favourites:

Make Up For Ever – Ultra HD stick foundation Face Foundation

Clarins – Pore Perfecting, Matifying Foundation and Matifying Kit Clarins has recently launched this foundation and powder combo to keep the skin shine-free. This duo contains acacia gum, which smooths the skins surface to create flawless photo-perfect skin in an instant. The foundation is light in texture but somehow gives great coverage, concealing blemishes and minimising the appearance of pores. Follow with Pore Perfecting Matifying Kit, which is a fine-pressed translucent powder combined with facial blotting papers. Both products are suitable for ladies of all ages who are prone to enlarged pores. This is a welcome product for important occasions, especially for brides who want to prevent unwanted shine, and to keep their make-up in place and stay looking fresh all day.

This amazingly light foundation has great coverage and is wonderful for mature and dehydrated skin. Created for the very latest high-definition technologies of the film and TV industry, it’s also great for killer selfies.

As a rule, stick foundations aren’t associated with a natural look, but this product surprised me. The formula glides on, makes the skin look even-toned and moisturised, and gives it a soft, satin finish.

The creamy texture blends in seamlessly to conceal imperfections and can be layered to give the desirable level of coverage, from light to full. The convenient swivel-stick packaging is great for touch-ups throughout the day or when travelling.

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beaut y

Zelens – Youth Glow Foundation /Age Control Foundation Zelens skincare range was created by Dr Marko Lens, a plastic and reconstructive surgeon who also specialised in the field of skin cancer and skin ageing. Powerful high-performance ingredients are combined with a blend of plant-derived molecules that have potent anti-ageing and healing properties. The same principles apply to his make-up line.

Youth Glow Foundation is perfect for skins lacking luminosity and vitality, or for those with visible signs of stress and loss of elasticity.

Age Control Foundation gives sheer coverage and is perfect for drier skins or those showing the signs of ageing like pigmentation, thinning, lines, or loss of firmness and elasticity.

Both products contain active ingredients such as hyaluronic acid, and the more exclusive Shiso extract (Japanese mint), which has antioxidant, anti-inflammatory, anti-bacterial and anti-allergic bioactivities.

Charlotte Tilbury – Magic Foundation

Laura Mercier – Flawless Fusion Ultra Longwear Foundation I am so thrilled that Laura Mercier has launched Flawless Fusion, a long-wear foundation with great coverage that still manages to be as light as a whisper. The addition of mica helps control shine, and silica helps to minimise the appearance of pores. I’ve used many Laura Mercier foundations over the years and have always loved her approach of producing a natural-looking base that encourages women not to feel the need to be over made-up. While this new oil-free matte formula is long-wearing and gives full coverage, it has an extremely natural look – it felt like I wasn’t wearing any foundation at all! It works well for all skin types, especially normal to oily, as it’s perspiration, humidity, water and transfer resistant.

This foundation treats and transforms the skin while providing full coverage, but gives a weightless texture for a perfect-looking second skin that lasts all day. It glides on like a dream, conceals blemishes, and smooths out frustrating imperfections like melasma, rosacea or general redness, resulting in perfectly smooth-looking skin.

Concentrated mushroom extract improves firmness, tightens pores and moisturises; hyaluronic filling spheres reverse wrinkle grooves to retexture the skin; supercharged vitamin C gives a lit-from-within effect and helps prevent and treat ultraviolet-induced photodamage. It’s also great for those with acne scarring, mature skin and tired, dull skin. The mineral-based sunscreen is kind to sensitive skin and provides gentle broad-spectrum sun protection to help prevent sun damage.

Sisleÿa – Le Teint Not just a foundation, this make-up and skincare-in-one is recommended for the more mature skin. Like all the Sisley range, Le Teint is packed with natural plant extracts and essential oils. Some noteworthy ingredients are soy peptide extract to recover the smoothness and firmness of more youthful skin, two micas for a radiant and healthy glow, and cherry blossom extract for its anti-inflammatory properties and its ability to help lighten uneven pigmentation.

In an effort to hide skin imperfections linked to ageing, those with mature skins can sometimes accentuate the problem by over-applying or using heavy foundations. Le Teint foundation becomes like a veil and blends imperceptibly without masking or overloading.

ANTHOLOGY AUTUMN 2017 59

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Iwona Lifsches The fabulously colourful paintings of naĂŻve artist Iwona Lifsches depict simple, easily understood and often idealised scenes of everyday life with a touch of melancholy and humour. words edel cassidy 60 AUTUMN 2017 ANTHOLOGY

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arts

A

+

culture

Let’s find a beautiful place to get lost

lthough Iwona Lifsches was drawn

My father taught me how to draw and

to art since childhood, it wasn’t un-

paint with watercolours when I was young.

til her own children had grown up

He was a very talented man and loved art

masterpieces. This was before we had the

that she was finally able to pay attention to

but never had the opportunity to follow his

internet, so the only way to see their work

her creative calling and become a full-time

passion. He was the eldest son in his family

in colour was on postcards or in books.

artist. She studied fine art in her native

and had to look after his mother and

city of Warsaw, Poland, and now lives and

younger brother during the war. Later, he

works in Janderup, Denmark. Here, in con-

had responsibility for his own family, so he

versation with Edel Cassidy, she shares the

never realised his dream of being an artist.

story of her life and how she developed

While at secondary school, I was intro-

I believe you ended up studying Business and Economics. How did this come about?

My parents would not agree to allow me

her unique style of work that throbs with

duced to oil paints by a friend who was

to study art full time. I was especially dis-

colour and bustles with excitement.

studying art. She taught me many useful

appointed that my father did not support

techniques, especially those of the old

me, but he thought I would not survive

masters. At that time, I was fascinated by

financially as an artist in Poland. He was

the Impressionists and spent all my pocket

probably right, but my dreams were shat-

money on books and photos of their

tered. When I graduated from the School

Were you interested in art from a young age, or was it an interest you developed over time?

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arts

+

culture

I dreamed of a house in the countryside, with a garden where my pets could be happy. Initially, the house was in need of repair, so Mark took care of the construction work and I became master of the garden. Now it looks great and I could never imagine myself living in a big city again.

Having spent my youth behind the communist Iron Curtain and living under martial law, I find Denmark a place where I can live and work peacefully. Also, I am surrounded by stunning Scandinavian design, which always charms me. People feel safe here; they respect themselves, their country, and take care of the environment.

The Pumpkin Field. ‘When black cats prowl and pumpkins gleam, may luck be yours on Halloween.’

soon be independent, so it seemed like an opportune time to make the change.

of Economics and Management, I started

It was a difficult decision,

my career in the Ministry of Foreign Trade

but I thought of the words

as a secretary to the Deputy Mianister.

of Leo Tolstoy, ‘No matter

At the same time, I attended classes

what the work you are

at the Academy of Fine Arts with the

doing, be always ready to

intention of getting a diploma. But things

drop it. And plan it, so as

did not work out as planned. I got married

to be able to leave it’.

and soon had a son to look after, so I

During a training programme at work we

You have lived in Denmark now for about ten years. Tell me about the move and if you found it difficult to leave Poland and settle in a new country.

were asked: ‘What did you want to be-

I knew Denmark quite well because my

come when you were a child?’ This simple

present husband, Mark, has lived here since

question gave me a flash of inspiration

the seventies. I had visited many countries

and I realised I was ready to give up my

through my work, but Denmark was a

job and take up art full time. My daughter

country that I felt comfortable and at home

was completing her studies and would

in. Having spent my whole life in Warsaw,

wasn’t able to continue. Also, my husband had no understanding of, or interest in, my passion for art. We later divorced.

When did you start working as a full-time artist?

Ulla In The Rain Forest. Run wild alone until you find someone just as wild to run with.

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‘Frederik and his Daily Issues’ began.

Ulla lives with her beloved dog in a world of her own, full of colours and adventures.

She is content being alone, as I was as a child. Frederik is often with his fiancée.

Winning the Grand Prix at the 7th International Festival ArtNaif in Poland must have been a great honour, especially as it was in your native country.

What did this award mean to you?

After five hard years of working on my style I found myself among the ‘recognised’ artists in Denmark. When, in 2012, my style was acknowledged by the French art curator Jacques Dubois as ‘modern art naïve’, I took part at the International Art Festival in Poland, Katowice, where two years later I gained the Grand Prix Award.

This award is most valuable to me, not only because it is based on public votes, but also because it is proof that it was worth it to take a risk and follow my dreams.

Teddy’s Issue. You and I are more than friends. We are like a really small gang, Teddy.

Your have developed a very unique style and created some wonderful characters. Did you go through many changes before finding this style?

bright, intense colours. But I wanted to continue with my favourite figurative painting, so I created a series of paintings with characters playing different instruments,

When I moved to Denmark in 2006, I

and because they were

sent my portfolio to several galleries,

popular I continued in that

but I felt it would be difficult as I was

direction. Unfortunately,

unknown here. Yet after two months

my painting had to be put

I managed to sign a contract with the

on hold once more when I

Malerihuset Gallery and so began my

underwent hip surgery. For

adventure with art in Denmark. Certainly

some time I couldn’t even

I had serious doubts about whether it

sit at the easel.

was worth it. I spent many hours on my

Around that time my

work, but the prices for my paintings

first granddaughter was

were low to start with. I joked that I was

born, and while I was lying

making money just for animal feed. One

in bed I made many draw-

day, I sat down on the couch in a large

ings of a little girl. Later,

furniture store and asked myself: what

I painted small canvases

would a Danish family like to have on the

with the character ‘Ulla’, and she was

white walls of their homes to comple-

immediately popular with both children

ment Danish design?

and adults. I thought maybe I could try

At that time the most popular style was abstract – large canvases filled with

In The Magic Forest. And into the forest I go to lose my mind and find my soul.

to use that style to create similar stories for adults, so the series of paintings

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arts

+

culture

Frederik’s Holidays. Ice cream is always an option…

Do you mainly work in acrylic or oils? Why do you make this choice?

Before I came to Denmark I worked mainly in oils, but after signing the contract with my first gallery I had to change to acrylics, as they dry quickly and therefore allow me to work faster and get the final result in a shorter time. Now I have found so many excellent acrylic mediums that I really like to work with. However, I do miss the magic smell of turpentine and oil!

Can you tell me about the process you use to achieve your finished work?

I start on a prepared canvas, which is more of a cream colour than a bright white. I then prime the canvas using gesso with a drop on ultramarine to achieve a cold, white surface.

Then I make the initial drawing and prepaint with pure primary colours, just as the old Flemish masters did to get the fantastic colours of their flowers. Faces and parts of figures are pre-painted using light blues.

Then the real fun starts as I combine the secondary and tertiary colours. The trick is to place cool and warm colours near each other.

This stage gives the paintings their vibrancy.

When I complete this stage, I’m then ready to add the light and shadows and all the detail.

Shadows are made deeper by using glazes with dark cool colours, but never

Moonlight Café. I love you more than wine, but please don’t make me prove it.

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black. I use the old methods of fine art painting, painting several glaze layers of different colours for a better effect. This may sound strange considering that my pictures appear to be simple, naïve art

‘The Impressionists stole my heart and soul when I was young’

paintings, but I like to work that way.

What artists have inspired you most?

takes notice of because we are simply too busy to enjoy those moments.

What advice would you give to an artist who is starting out in their career?

Fairy tales and legends always inspire

Be ready to fail, but listen to your heart

soul when I was young. I was fascinated

me, as they do many other naïve artists.

and trust your eye. Follow the advice of

by them, and studied again and again

Fairy tales are a way of explaining the

Wim Wenders, ‘You have to find what

masterpieces by Edgar Degas, Pierre

world – the natural world, family, religion.

you can do better than anybody else, and

Cezanne, Amadeo Modigliani, Henri

They touch on issues of life and death

what you have in yourself that nobody

Matisse and Marc Chagall.

and, above all, they pass on moral norms

else has in themselves.’

The Impressionists stole my heart and

What other things in life inspire you?

and help us to understand good and evil.

Maybe the human longing for a non-ag-

Original paintings, posters and greeting

In my paintings you can see fleeting

gressive world of good and justice also

cards by Iwona Lifsches can be bought at

moments of daily life that no one usually

influences the popularity of naïve art.

www.studiolifsches.vpweb.co.uk Ulla in Hogwarts. ‘Girls should never be afraid to be smart.’ – Emma Watson

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ENDA GRIFFIN PORTRAIT ARTIST

• Sky Arts Artist of the Year 2014: Portrait competition finalist • Rose of Tralee’s portrait painter of choice in 2015 • Commissioned for family portrait by Middle Eastern Royal Family in 2016

67_IDG_Enda.indd 67

Accepts commissions for portraits of children & adults or groups Coolisteige, Clonlara, County Clare.

Tel: 086-1033346 - Email: endagriffin@hotmail.com www.endaartist.wordpress.com

15/08/17 09:18

Conor Walton

Upcoming Exhibitions: September:

David Newton American artist based in Ireland

October:

Colm Maye self taught artist from Co Meath

November:

Internationally acclaimed Irish artist Conor Walton

30-32 Oliver Plunkett Street, Mullingar, Co. Westmeath e: chimera_gallery@yahoo.ie

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I

t: 087 803 83 57

14/08/17 15:06

Seeing is Believing

arts

+

culture

words edel cassidy

The Benefits of Viewing Art

T

he visual arts exist in every country and in every culture. Long before writing evolved, pictograms were

used as a means of visual communication by ancient cultures. The spectacular paintings of Chauvet Cave, in south-eastern France, are thought to be 30,000 years old and are among some of the earliest examples of man’s attempts to communicate visually.

The human impulse to create art is universal. It’s a means of expressing ideas and beliefs, and art of all types has helped to shape societies across the world. Studying art from the past or from other cultures

ties on the relationship between neurosci-

also provides insights into historical peri-

ence and education, states in his book, Arts

ods and cultures different from our own,

with the Brain in Mind, ‘The systems [the

and helps us to appreciate and understand

arts] nourish, which include our integrated

how others lived and what they valued.

sensory, attentional, cognitive, emotional,

However, viewing art has other benefits

and motor capacities, are, in fact, the driv-

too: a visit to an art gallery can have a

ing forces behind all other learning.’ How-

positive influence on your health. A study

ever, the arts should be included as a core

by the University of Westminster into the

part of curriculums, he advises, not used as

impact on City workers of a brief lunch-

a ‘quick fix’ to make up other deficiencies

time visit to an art gallery saw them make

in the educational process.

a speedy recovery from the consequences

While it’s lovely to visit a gallery during

of high stress. The observed drop in the

a quiet time when you can really focus on

stress hormone cortisol was rapid and

the art and establish a personal relation-

substantial; it usually takes about five

ship with it, viewing art is also a great social

hours for cortisol levels to fall the same

activity, and the presence of others can be

extent throughout a normal day.

an integral part of the experience. Galleries

The experience of viewing art refreshes us, boosts critical thinking skills, makes us more creative and open to learning and

are great places for dates, family outings and meeting friends.

Don’t wait until you go on holiday to

less mentally fatigued. Years of research

visit the Louvre or the Uffizi, and don’t just

has proven that arts education impacts

wait for the big exhibitions. Go visit and

everything from academic achievements

support your local art galleries and you

to social and emotional development. Eric

may just be surprised at what you see,

Jensen, one of the world’s leading authori-

who you meet, and what you learn.

a selection of upcoming shows Chimera Gallery, Mullingar September: David Newton, American artist based in Ireland.

October: Colm Maye, self-taught artist from Co. Meath.

November: - Internationally acclaimed Irish artist Conor Walton.

Limerick City Gallery September to October: - ‘Headland’, New Work by Elizabeth Magill.

- ‘Landmarks and Lifeforms’​by Frieda Meany and Danny Osborne.

November to January: - Lightmoves Festival.

- ‘More than my Choices’ by Theresa Nanigian.

Central Buildings, Limerick October: - Limerick Figure Drawing Society.

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Ballyfin Demesne

The name Ballyfin derives from the Irish ‘An Baile Fionn’, meaning ‘the fair place’. It’s a fitting description for the magnificent house and estate which bear that name.

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FEATURED HOTEL : IREL AND

F

‘Yesterday I saw a most delightful place indeed, much beyond any place I have grandeur of Ballyfin for one hundred seen in Ireland – Ballyfin.’ years until the demise of the Protestant rom the moment I drove through the gates and followed the long winding driveway to the great

neoclassical façade of Ballyfin, I felt as if I had stepped back in time and was a most eminent guest arriving at the estate for a country house weekend.

I was greeted with a most genuine homely welcome and was shown to my room via the grand cantilever staircase which displays a sensational collection of Coote family portraits. I was lucky enough to have been booked into the former boudoir of Lady Caroline Coote, which is one of the most elegant at Ballyfin. With its four-poster bed, rococo stucco ceiling and vivid blue wallpaper that gives the appearance of silken

In May 1759, Emily, Countess of Kildare, wrote these words to her husband, describing the exquisite countryside around Ballyfin.

Set at the foot of the Slieve Bloom Mountains, Ballyfin has long been admired as a place of great natural beauty. The house itself was built

by Sir Charles Coote in the 1820s to designs by Irish architects Richard and William Vitruvius Morrison. Charles and his young bride, Caroline, adopted the motto ‘coûte que coûte’ (cost what it may), and set about making their home the most resplendent in Ireland, procuring the finest in decorative elements from around the world.

The Coote family enjoyed the

Ascendancy. With the birth of the Irish Free State in 1922, the Cootes sold the estate to the Patrician Brothers who, for much of the twentieth century, ran a much-loved school at Ballyfin.

In 2002, a Chicago-based couple, Fred and Kay Krehbiel, purchased the property. They joined forces with Jim Reynolds, a leading Irish landscape architect and historian, to restore the mansion. Having fallen into disrepair over the years, the house and grounds took nine years to restore – significantly longer than it took to actually build. Set within 614 acres of historic parkland and gardens, Ballyfin Hotel is a beautiful Regency mansion with twenty highly ornate traditional bedrooms.

drapes, this room is acclaimed as one of the finest Empire-style interiors in Ireland.

Once checked in, I found myself with

and is filled with collections of rare books

bubbles and powerful water jets.

Each day there is a historic tour of

an array of activities to pass the time. The

and periodicals. Other indoor options

eighty-foot library, which runs the length

include spa treatments, a fully equipped

the house that’s full of fascinating detail:

of the south façade, features six black

gym, a fourteen-metre heated indoor pool,

the antique Roman mosaic floor in the

scagliola columns and log fires at each end,

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Coote on her Grand Tour of Italy in

scents and colours of the fruit and

1822; antlers from a 10,000-year-old

flowers. I climbed to the top of the

Irish elk hang above a doorway; the

tower, the highest point of the estate,

two gilded Chippendale mirrors in

to enjoy a stunning 360-degree view

the library were originally made for

of the surrounding countryside.

the Royal Box at Ascot; the recessed

Dinner at Ballyfin is a feast for the

mahogany-fronted bookcases in the

senses. Pre-dinner drinks are served

library have been preserved since

in the Rotunda, a space inspired by

the house was first built.

the Pantheon in Rome. Its central

My favourite room is the Gold

oculus is closed to the elements but

Drawing Room, with its French-in-

rises through a cloud of gilded stars

spired decoration and beautiful

to a further dome filled with coloured

ceiling of rich stucco work. In this

glass. Guests order from an à la carte,

room hangs an exquisite painting

or five- or eight-course tasting menu.

of Sir Charles Coote’s four children

The food is exceptional, especially the

by the notable English painter Sir

native Dexter beef that melts in the

George Hayter, who was commissioned to

There is an abundance of outdoor

mouth. Many of the fresh vegetables, herbs

paint Queen Victoria’s coronation in 1838

activities on the estate, including coarse

and fruit are grown in the grounds, and fish

and her marriage to Prince Albert in 1840.

fishing on the lake, pony and carriage

and meat are locally sourced.

The magnificent glass chandelier came

rides, croquet, clay pigeon shooting, ten-

I had high expectations before visiting

from the Paris townhouse of Napoleon’s

nis, archery and falconry. The parklands

Ballyfin and these were surpassed. When

sister, Queen Caroline of Naples.

are a delight to explore, and picnics are

the time came, I reluctantly left, but certainly

offered to enjoy in the grounds.

with a desire to return... ‘coûte que coûte’.

The spectacular conservatory by Richard Turner, the Irish iron founder, had

It’s impossible to fit everything in in

fallen into disrepair during the Patrician

one day but I did get to cycle around the

Brothers’ occupancy. This exquisite glass

picturesque twenty-eight-acre lake and take

and iron masterpiece was dismantled and

a short boat trip. I also walked through the

shipped to England for refurbishment.

walled gardens where I enjoyed the sights,

Ballyfin Demesne, Ballyfin, Co. Laois, Ireland +353 57 875 5866 www.ballyfin.com

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FASHION

D

eirdre Duffy hand-weaves quality textiles on a foot-operated floor loom. She draws influence and inspiration from the traditional, but gives it a contemporary twist. Using strong colours and bold patterns, Deirdre makes scarves, cowls and blankets that are for everyday enjoyment, not just for special occasions. A love of the Irish landscape and the traditional way of living combine with contemporary elements to create a unique range of products for you and your home.

Wild Cocoon scarves, cowls and blankets can be worn all year round in our changeable climate, whether you’re outdoors or in. The new oversized scarf is a statement piece that cocoons you in soft, warm lambswool. Wild Cocoon blankets are weighty, cosy and comforting, and provide luxurious protection from the elements.

Deirdre was awarded Irish Accessory Designer of Year 2017 at the Irish Fashion Innovation Awards.

Available to purchase online at www.wildcocoon.ie Please check website for stockists Studio open by appointment Wild Cocoon Main Street, Claremorris Co Mayo, Ireland 085 7216454 Check out social media @wildcocoon

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Stella McCartney RIGHT AND BELOW: When creating her inaugural menswear collection, Stella McCartney drew inspiration from her Beatle father, Paul.

Known for her sharp tailoring and daring use of colours and textures, she managed to combine street savvy with classic tailoring in recalling the ‘Teddy Boy’ movement.

Suit yourself Reclaiming the Classic Suit

Fashion can sometimes be fickle, but often it’s not. When it comes to menswear, designers have produced some really outlandish collections using everything from lurex, nylon and glitter to floral and fluorescent fabrics.

The classic suit seemed to fall in popularity when more and more workplaces introduced casual dress policies. But the suit has never really left us and this traditional look, which has been a staple of the male wardrobe for centuries, has made a reappearance on the fashion runways – single-breasted, double-breasted in a plethora of different shades and fabrics and using quality tailoring – producing suits that can be worn anywhere and by anybody.

The suit has empowered men for centuries. It’s the go-to outfit to help you look and feel your very best. Timeless, refined and sophisticated, appropriate for both the office and the cocktail bar, no gentleman should be without a sleek classic suit.

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FASHION

Cerruti 1881 LEFT AND FAR LEFT: In a collection that celebrates the fiftieth anniversary of Cerruti, it was appropriate for Jason Basmajian to pay homage to the legacy of the house founder, Nino Cerruti.

The fifties look is very much in the spirit of Nino, who always emphasised the importance of fabric and of relaxed, tailored elegance.

John Varvatos RIGHT AND BELOW: A chic and elegant collection that still bears the trademark rebellious spirit of Varvatos. He has delivered a range of super-sharp tailored suits in double and single-breasted models, giving the air of nonchalant cool with an uncompromising devotion to elegance.

David Hart ABOVE, RIGHT AND LEFT: Known for his impeccably tailored suits and luxurious neckwear, Hart’s quirky take on menswear varies from the classic to the conspicuous. An array of evening wear from wool tartan suits with velvet bow ties to iridescent mohair suits with notch lapel, ruffled dress shirts and silk scarves are all prominent in the collection.

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Autumn 2017 It’s that time of the year when we wait with bated breath for the autumn trends.

This season brings us beautiful collections that are a unique combination of glamour, colour and fun, but also comfortable to wear. From geometric Seventies’ graphics, argyle, or offbeat appliqué to animal prints, your inside guide to the season’s trends starts here.

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fashion

erdem

Drawing heavily on the fashion of romantic eras in history are the very modern high collars, ladylike ruffles, floral tights, bejewelled silks, trailing satin bows, velvet platforms and pointed-toe flats of Erdem’s collection. A mixture of intense femininity and boldness combined with a stunning sense of elegance runs throughout.

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fashion

balmain

Key looks include bold, bright, figure-hugging mixed-media dresses combining bouclĂŠ check, houndstooth, studded leather, beaded fishnet and fringing. The collection also reveals a softer side, from pleated palazzo pants and ponchos to a range of knits that include long, enveloping cardigans with slim sleeves.

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fashion

delpozo

Bold statements where shape and colour reign, with ruffled capes and slightly asymmetric hems, are reminiscent of the work of the great Spanish couturier, Cristóbal Balenciaga. Delpozo brings a collection filled with fuchsia, red, cerulean blue and orange to fire up the colour palette of the season.

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fashion

kenzo

Inspired by an Arctic surfing subculture, this offbeat collection plays with layering, and vivid colours appear throughout, from Arctic surfer floral to the electric hues of the Northern Lights. Decisively bold and destined to be worn by people who believe that neutrals are too subtle in today’s noisy world.

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e t A U

g n B Rivalry Inspiration o i RVw

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Vermeer and the Masters of Genre Painting:

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and

landmark exhibition at the National Gallery, Dublin, brings together twelve paintings

by Johannes Vermeer – one third of the Dutch master’s known body of work – and shows his works alongside those of his contemporaries from Holland’s Golden Age. The exhibition coincides with the recent reopening of the National Gallery’s refurbished historic wings and new display of the permanent collection.

This is the first exhibition of its kind to explore the network of relationships between the Dutch genre painters during the 1650–1675 period. Contrary to common belief that Vermeer was a solitary worker, he did interact with a network of painters, and viewing their work side by side brings to light Vermeer’s association with these artists, who specialised in the depiction of domestic interior scenes of everyday life while admiring, inspiring and vying with each other.

Born in 1632 in Delft, a city located to the north of Rotterdam and south of The Hague, Johannes Vermeer began his career in the early 1650s. Initially he painted large-scale biblical and mythological scenes, but most of his later

words edel cassidy

paintings – the ones for which he is best known – are the meticulously rendered images of women in light-filled domestic interiors. These works are remarkable for their purity of light and form, and the rhythm established by the colour relations convey a serene, timeless sense of dignity.

Vermeer also painted cityscapes and allegorical scenes.

The identity of Vermeer’s teacher, the nature of his training and the period of his apprenticeship are unknown. His father

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Johannes Vermeer (1632–1675) Woman Writing a Letter with her Maid c.1670–1, National Gallery of Ireland, Dublin, NGI.4535

This is considered one of Vermeer’s most outstanding compositions. To the left of the room, illuminated by a tall window, stands a statuesque maid who acts as a counterweight to her lively mistress intent on writing her letter. The red wax seal indicates that the crumpled letter on the floor is one that has been received, rather than the discarded draft of a letter being sent. Since letters were prized in the seventeenth century, it must have been thrown down in some agitation. This explains the vehement energy being devoted to the composition of the response. Another clue is the large background painting, The Finding of Moses, which represents God’s ability to placate opposing factions.

Vermeer did not sell this painting, but after his death his widow and mother of their eleven children gave it and another painting to a local baker to help put bread on the table.

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worked as a tavern keeper and an art merchant, and joined the Delft Guild of Saint Luke as a picture dealer. The business ran up considerable debts and Vermeer was only twenty years old when he inherited the family business, including his father’s debts. This might explain why he had to essentially train himself rather than study with an important master. Many think he may have been self-taught entirely using information from his father’s connections.

In April 1653, less than a year after his father’s death, he married Catharina Bolenes, a wealthy Catholic woman from a higher class family. This union led him to convert from the Protestant faith, in which he was raised, to Catholicism. He had to leave his neighbourhood, and was erased from the civic records. Vermeer enjoyed financial support from his new mother-inlaw, a wealthy divorcee; he and Catharina lived with her for the rest of their lives and had fifteen children together, four of whom died at birth.

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Almost all Vermeer’s paintings are apparently set in one or two rooms of an upper floor of his mother-in-law’s house in Delft. They show the same furniture and decorations in various arrangements, and they often portray the same people.

The windows of his studio faced north, which is the direction favoured by painters because the light from the north is cooler and, above all, more consistent throughout the day. He registered as a master painter in the Delft Guild of Saint Luke on 29th December 1653.

Vermeer’s techniques give his paintings their unique feel. A slow and methodical painter, his paintings are characterised by a sense of compositional balance and spatial order using a number of effects, including his signature refined cast of light.

He liked to paint wet on wet, meaning that there aren’t many hard lines, as he would let the colours, especially along edges, merge and blend with one another – just enough to give everything a slight

haze. The lines in his paintings may be soft but there is a precise geometry. He organised and structured his paintings with careful attention to the laws of linear perspective. Thirteen paintings still show evidence of the pinprick at the vanishing point, confirming that Vermeer used this technique whereby a string attached to a pin placed at the picture’s vanishing point could be pulled taut to any point on the canvas to mark the lines of recession.

Vermeer was a master of colouristic effects, but like most seventeenth-century Dutch painters he worked with a surprisingly limited palette. At this time artists made their paints each morning and set out the palette with only the few pigments necessary for the day’s work. The only difference in Vermeer’s palette in comparison to his contemporaries was his preference for the costly natural ultramarine.

Vermeer was a respected artist in Delft, selling his works to a small number of local collectors. He also served as head of the

Johannes Vermeer (1632–1675) Lady Writing c. 1665–7. Courtesy National Gallery of Art, Washington

In this exquisite painting, a soft light falls from the upper left side, as if there were a window there, and illuminates the tabletop, the woman’s face and her rich yellow morning jacket. She is depicted writing a letter and, while still holding her quill pen, she turns her head to look momentarily as if she has been interrupted. Her open gaze engages the viewer, and her gentle and mildly embarrassed smile suggests that she is writing a love letter. The young lady’s hairstyle, with braided chignon and ribbons tied in bows, was popular in the mid 1660s. This information has helped date the painting since, like many works by Vermeer, this canvas is signed but not dated.

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Johannes Vermeer (1632–1675) The Love Letter c.1669–70, Rijksmuseum, Amsterdam, Inv. SK A 1595 In this painting, we see the same woman in the distance through an open doorway. She is turned away from the viewer, interrupted this time by a maid with a letter as she plays her cittern. On the wall behind her are two paintings. A ‘painting within a painting’ was a device used at this time to subtly convey the content of the unseen letter. The lower painting is of a stormy sea, a clear metaphor for tempestuous love. Above it is a landscape painting of a traveller on a sandy road.

This may refer to the absence of the man who is writing to the lady.

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Johannes Vermeer (1632–1675) Woman With a Balance c.1664, National Gallery of Art, Washington A window, unseen except for its golden curtain, provides the light that illuminates the scene and breaks into the painting from above. The woman holds a small, delicate balance that is the central focus of the picture. In front of her is a table with pearls, a gold chain and gold coins. In contrast to these precious possessions, on the wall behind her hangs a picture of The Last Judgement, representing spiritual concerns, and perhaps associated with the social values of the Dutch people at that time. This scene has religious implications that seem related to Saint Ignatius of Loyola’s instructions to balance one’s sins with virtuous behaviour. The scales in her right hand are perfectly balanced and her demeanour is calm, indicating that she is capable of living according to these principles.

local artistic guild for a time, but his success was hampered by the fact that he did not find patrons outside of his hometown.

Like most artists of his time he struggled financially, especially in his final years, partly because the Dutch economy suffered terribly after the invasion by France in 1672. He accumulated debts, which were left to his family after his untimely death at the age of forty-three. Catharina, who was always supportive of her husband’s work,

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tried to save as many of his paintings as possible, but she was forced to part with them to repay her husband’s debt.

The other artists of the Golden Age featured in this exhibition – among them Gerrit Dou, Gerard ter Borch, Jan Steen, Pieter de Hooch, Gabriël Metsu, Caspar Netscher, and Frans van Mieris – worked in different cities across the Republic of the United Netherlands. However, their technique, and the style, subjects and

Gabriël Metsu (1629–1667) Woman Reading a Letter 1664–6, National Gallery of Ireland, Dublin, NGI.4537 Born in Leiden, Metsu was one of the most important painters of his age. In the early 1650s, he moved to Amsterdam, and this had a profound effect on his career.

Despite his untimely death at the age of thirty-seven, he produced an outstanding oeuvre and drew admiration from both artists and collectors of his time.

Woman Reading a Letter is considered to be among Metsu’s finest works. The woman is seated by a window and is dressed elegantly in a yellow jacket, similar to the one worn by Vermeer’s model. The embroidery pillow on her lap, the sewing basket and thimble on the floor show that she has put down her sewing to read the letter. The little spaniel symbolises loyalty, and the Cupid’s arrows on the maid’s bucket symbolise love. The maid draws back the protective curtain over a stormy seascape, which could refer to a tumultuous relationship. Note the detail in the letter the maid is holding: it is addressed to the painter himself.

compositions featured in their work, show considerable similarities. The exceptional quality of their creations can partly be attributed to the lively professional rivalry that existed between them.

Vermeer and the Masters of Genre Painting: Inspiration and Rivalry is collaboration between the Musée du Louvre Paris, the National Gallery of Ireland and the National Gallery of Art in Washington.

It will be on show at the National Gallery of Ireland through to 17th September 2017.

It will then go on show at the National Gallery of Art in Washington from 22nd October 2017 to 21st January 2018.

The Art of Letter Writing The subject of letter writing became a popular theme with Dutch artists in the second half of the seventeenth century.

Holland was the most literate country in Europe at this time and the foremost centre of publishing. While letters had long been used for commercial, military and state affairs, letter writing now captured

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the popular imagination, and written communication was used among individuals to convey private feelings and emotions.

There are six paintings in Vermeer’s small oeuvre that deal with the theme of letter writing, and all of them depict women at various moments in the process of correspondence. Two of the paintings from this exhibition feature the same woman in the same luxurious yellow jacket trimmed with ermine.

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Gerard ter Borch (1617–1681) Gallant Conversation (The Paternal Admonition) c. 1654, Rijksmuseum, Amsterdam Born in Zwolle into a well-to-do artistic family, Gerard ter Borch developed his own distinctive type of interior genre of calm, exquisitely drawn groups, posed effortlessly against shadowy backgrounds.

This work is the most characteristic Ter Borch and was, until recently, titled The Paternal Admonition. It was believed to depict a father admonishing his daughter while his wife sits patiently beside him, sipping a glass of wine.

A little scrutiny of the picture shows that there is nothing fatherly about the plea of the man in military dress to the young woman. The shrewd old lady is more likely to be the woman’s procuress rather than her concerned mother. Is the man making an indecent proposal? With her back turned, the young woman’s reaction remains hidden from us.

Unlike Vermeer’s paintings, the dim light and subdued chiaroscuro do not allow a forceful grasp of the whole field of vision. Light comes mainly from the front and stops at the surfaces of the costumes and other textures.

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Fans of unique, elegant, bespoke fragrances and beauty devotees now have access to two amazing shops, side by side, in the Westbury Mall, right in the heart of Dublin

y

Signature SCENT I

n 2013, Marija Aslimoska set up what

monks began growing herbs to make

was Ireland’s first independent niche

balms, salves and medicines for their

perfumery, Parfumarija. A classically

infirmary. The superior quality of their

trained perfumer, Marija learned her craft

products became widely known, and in

in Grasse, the traditional home of perfume

the seventeenth century, the pharmacy

in the South of France. Last year Marija

opened its doors to the public.

opened Santa Maria Novella, Ireland’s first

Even then, celebrity endorsement

Italian apothecary.

was invaluable. The pharmacy

Parfumarija

really came to prominence

Marija has designed a beautiful shopping

Medici, daughter

experience in Parfumarija and stocks

of the most

equally beautiful scents. The shop is a

powerful family

delight to visit and carries a great variety

of Renaissance

of some of the leading perfumes in the

Florence, commis-

world. On a recent visit, I found the staff

sioned a signature scent to

to be helpful and knowledgeable, on hand

commemorate her marriage to

to offer expert advice. By slowly narrow-

Henry II, the future king of France.

ing down my preferences, they helped

The monks created a special perfume

me discover a scent specific to my tastes.

named Acqua Della Regina (Water of the

I thought it would be a difficult task to

Queen). This fragrance is still produced

get a perfume to exactly suit what I liked,

but has been renamed Acqua di Colonia.

when Catherine de’

but I found it an educational and a very

Santa Maria Novella in the Westbury

pleasant shopping experience.

Mall is gorgeous shop – modern, pristine,

Santa Maria Novella

with a soft colour scheme but it also

The incredible, beautifully wrapped

has an elegant old-world charm.

Marija has brought a little of

fragrances and potions of Santa Maria

Paris and Florence to the

Novella, which date back centuries,

Westbury Mall – the

their formulas and production methods

perfect place to find

unchanged, are now available to Irish shoppers. The four hundred-year-

your signature scent.

old brand, started by the Dominican monks of Florence, now has stores in major cities worldwide.

In 1221 the

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D

espite the fact that I have visited Venice countless times over many years, and for a while lived just a

which was indeed a voyage of discovery.

Here are the places I think you should visit if time allows. In the meantime, bear

short train-ride away, I never tire of the

in mind that Venice is a city made for

initial thrill I get when I catch sight of this

walkers. It is difficult to get lost for long.

magical city again. On exiting the railway

Simply pick up a handy pocket-sized map

station, everything is all hustle, bustle and

and off you go.

excitement: gondolas, water buses and taxis, barges, emergency vehicles and

The Grand Canal

police launches, all jostling for space on the

You really must take a trip down the

gleaming waters of the Grand Canal.

Grand Canal. I always do this on the No. 1

It took me a few years to get my bear-

vaporetto (water bus), which stops several

ings in Venice and to feel at home there.

times between the station and St Mark’s

A great deal of interesting research was

Square, giving you the opportunity to take

involved as I endeavoured to find the best

in the sights and sounds of La Serenissima.

places to eat that didn’t charge tourist

The first trip down this famous water-

prices and serve boring tourist-type food.

way is guaranteed to stimulate the imag-

I also needed to find good places to bring

ination of even the most jaded traveller.

friends and relatives when they visited,

The vaporetto passes Venice Casino and

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travel

The magic of Discover the charm of Venice, one of the most beautiful cities on earth. From mainstream attractions to the city’s lesser-known spots, a visit to Venice is a memorable experience words and photos orna o ’ reilly weber

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several magnificent palazzi (palaces) on

St Mark’s Square

people each year. It was the seat of power

its journey down the canal past the Rialto

St Mark’s Square has been known as ‘The

for the Doges (governors) of Venice until

Markets and underneath the famous Pon-

Drawing Room of Europe’ since Napole-

1797 when the city fell to Napoleon.

te di Rialto. You will then glide beneath

onic times. It is overlooked by the free-

Climbing the Grand Staircase, com-

the wooden Accademia Bridge and have

standing bell tower of St Mark’s Basilica.

plete with colourful frescoes, you will be

a close-up view of the iconic church of

There is a long loggia along three sides

struck by the lavish rooms with won-

Santa Maria della Salute. Up ahead is St

of the square where jewellery outlets,

derfully decorated ceilings and a strong

Mark’s Square, where you will alight onto

coffee shops and restaurants are situated,

sense of the history of Venice. You will

a floating docking station.

the most famous being Caffè Florian, the

also see the largest room in Europe, the

oldest in Europe, and Grancaffè Quadri,

Chamber of the Great Council, a fantastic

both of which boast orchestras that play

architectural triumph in which there

Before entering the piazza itself, if you ven-

out doors almost directly opposite one

are no pillars to support the ceiling; it is

ture over to the right you will see a gaggle

another. Hot chocolate in Caffè Florian is a

suspended from gigantic beams. This

of tourists packed onto a small footbridge.

real treat on a cold winter’s day.

vast room also contains the longest oil

Bridge of Sighs

They are there to view and take photographs of the famous Bridge of Sighs, so

The Doge’s Palace

called because of the sighs of the prisoners

On one side of the square is the Doge’s

taking their last look at Venice while cross-

Palace (Palazzo Ducale), which is a

ing over to their dark prison cells. I would

must-see for all visitors to Venice. It is an

recommend you join the throng and have a

enormous twelfth-century edifice, which is

look. It is pretty stunning.

apparently visited by more than one million

painting, Il Paradiso by Jacopo Tintoretto.

From there you can cross the Bridge of

clockwise from top left: The Horses of Saint Mark (Cavalli di San Marco), also known as the Triumphal Quadriga; The decorative interior of Caffè Florian, the oldest café in the world, dates back to 1720; The vaporetto (a waterbus), serving Venice and nearby islands, cruises the Grand Canal; Venice’s Rialto Market has been whetting appetites for seven centuries. Here you’ll be rewarded by pyramids of colourful seasonal produce such as these langoustines.

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For me, the highlight of a visit to the

Sighs to visit the prison. While crossing this

main part of the Basilica, you can walk to

famous bridge it is worth stopping briefly to

Basilica is what is to be found when you

the front and see the spectacular altar

take a look through the latticed windows in

go up a steep, narrow flight of steps to

that houses the remains of Saint Mark,

order to view the Venetian Lagoon – and all

the right of the main door – a gallery with

Venice’s patron saint.

the tourists staring in your direction.

a bird’s-eye view of the rich, golden mosa-

The Doge’s Palace also organises

ics that stud the vaulted ceilings and walls.

poretto trip across the lagoon to visit San

The gallery contains the original four

Giorgio Maggiore is well worth the effort.

visits to its attics, dungeons and torture

Back in the piazza once more, a short va-

chambers. This is a fascinating tour, which

bronze horses, brought from Constan-

I strongly recommend.

tinople in 1204, that used to adorn the

San Giorgio Maggiore

front of the Basilica but which now reside

This beautiful church was designed by

indoors to preserve them. The ones out-

Palladio in the sixteenth century and was

side are actually replicas.

built facing west so that the façade turns

St Mark’s Basilica Just a stone’s throw from the Doge’s

Venturing out onto the external terrace,

Palace is the Basilica of St Mark, an exam-

pale pink at sunset. On one chilly winter’s

ple of Byzantine architecture built in the

the view of the piazza and the island of

afternoon, we crossed the lagoon to visit

eleventh century. It is the principal Roman

San Giorgio is highly photogenic.

this magnificent church with the aim of

Catholic cathedral of Venice.

clockwise from below: Full of character and real life, the busy markets in Venice are an integral part of local life; Built in the seventeenth century, the leaning tower of Burano, one of Italy’s

Descending the stairs and entering the

ascending to the top of its bell tower.

many ‘leaning towers’, has Renaissance and neoclassical architectural features; A gondola is propelled by a gondolier using a single rowing oar, which also acts as the rudder.

‘Venice is a city made for walkers. It is difficult to get lost for long. Simply pick up a handy pocket-sized map and off you go.’

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Acqua Alta The seasonal high tides that flood many of the city’s streets are known as Acqua Alta. The high tides occur in the northern Adriatic Sea, but peak when they reach the Venetian Lagoon and the Sirocco wind blows up from the Adriatic.

I experienced my first Acqua Alta on one of my many winter visits to Venice.

As I watched, the waters of the canals rose, lapping over the sides and into the narrow streets. In the main thoroughfares, elevated wooden platforms on steel legs were erected to create busy walkways and yellow plastic overboots were for sale in several outlets.

The Venetians, accustomed to the high tides that usually occur between October and March, were shod in the smartest rubber boots imaginable, into which the fashion-conscious Venetian ladies tucked their skinny jeans.

Café and shop-keepers were out with their brooms and pumps trying to keep the tide at bay. Otherwise, everything carried on as normal for the few short hours of Acqua Alta.

To protect Venice from sinking into the sea sometime in the future, the MOSE project (Modulo Sperimentale Elettromeccanico) was conceived and

is due for completion by June 2018. It consists of a system of giant flaps, or gates, which are being hinged onto the seabed in the various inlets between the lagoon and the Adriatic Sea. The idea is that the gates will be raised in the event of an exceptionally high tide.

Having sloshed around the waters of Venice in my bright new yellow boots and tramped along the hollowsounding wooden platforms, I was happy to see the waters subside after just a couple of hours.

above: The Rialto Bridge (Ponte di Rialto) is the oldest of the four bridges spanning the Grand Canal. right: Burano is an island in the Venetian Lagoon.

ibly beautiful and the memorial to neo-classical sculptor Antonio Canova is a must-see.

Within easy walking distance of these gems is the Rialto Bridge and its markets, full of fish fresh from the lagoon and fruit and vegetables from the surrounding islands. Colourful and noisy, it should be visited early in the morning.

La Scuola Grande and Santa Maria Gloriosa dei Frari

Peggy Guggenheim Collection

Palladio’s genius, with a clean, unadorned interior. To the left is the presbytery, which

Not far from the railway station are situated

unusual one-storey palazzo that houses

contains two of Tintoretto’s masterpieces.

three of my favourite places to visit in Venice.

the Peggy Guggenheim Collection. This

The church itself is a perfect example of

Reached by lift, the top of the tower,

The Scuola Grande, which dates back

Near the Accademia Bridge sits the

is a unique gem of an art gallery, exhibiting

where the viewing platform is located,

to the fifteenth century, houses a huge

works by artists such as Jackson Pollock

is surrounded by high, thick walls –

collection of paintings by Tintoretto,

and Pablo Picasso. It was Peggy Guggen-

good news for those of you who, like

who worked on these magnificent

heim’s home for more than thirty years until

me, have a bad head for heights. The

rooms for several years. Across the calle

her death in 1979 and I highly recommend a

views from the bell tower provided me

(alleyway) is the jewel-like Renaissance

visit. Peggy’s ashes and those of her adored

with my best shots of Venice. Looking

Church of San Rocco.

little dogs are buried in the garden.

over the island of Giudecca and Pallad-

Around the corner is the enormous

io’s other masterpiece, Il Redentore,

church of Santa Maria Gloriosa dei Fra-

A gondola factory

I then swung my lens towards Santa

ri. The Franciscans built this enormous

Strolling nearby, you may notice Squero

Maria della Salute and Piazza San Marco

church during the fourteenth century

di San Trovaso, a gondola factory. You can

and marvelled at the city and lagoon

and the bell tower is the second largest

see it best from the opposite bank of the

spread beneath.

in Venice. The choir stalls are incred-

canal. Head to Fondamenta Nani for a look.

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Islands of Burano, Murano, San Michele and Giudecca

Create a Carnivale mask

Try to find time to visit at least one of the

spend a couple of hours, why not have a go

islands in the lagoon. My favourite is Burano,

at painting your own Carnivale mask. Ca’

famous for its colourfully painted houses and

Makena is the place for this. I spent a wet

lace-making industry. There is a small lace

winter’s morning there being creative in a

museum there, which I found interesting.

most unusual way. I never imagined I would

If you are looking for an entertaining way to

Murano is the island where all the won-

have such fun painting, gluing diamante studs

derful glass hails from. You can take tours

and tying ribbons to a little mask, which still

of the glass factories (fornace) and see

occupies pride of place in my home.

a demonstration of glass blowing. This is the place to buy beautifully crafted glass;

I hope I have captured some of the magic

the chandeliers are particularly fabulous.

of Venice for you, and that this whis-

On the way out to Murano lies the tranquil Island of San Michele where Venetians have buried their dead for centuries. And there’s Giudecca, home to the famous Pal-

tle-stop tour has whetted your appetite to come and see it for yourself.

Some of the tours I undertook were courtesy of Walks of Italy.

above: (top) Orna creates her own mask; (middle) Venice comprises a group of 118 small islands that are separated by canals and linked by bridges; (bottom) Venetian masks were traditionally worn to hide the wearer’s identity and social status.

ladian church, Il Redentore; a lovely, peaceful place to take a stroll, unless one of the – highly controversial – massive cruise liners sails by with Pavarotti blaring from its decks.

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Savouring Venice one bite at a time So, what do Venetians themselves eat for lunch? Not your standard tourist fare, that’s for sure!

As a general rule, if there is no time to dash home for some of mamma’s cooking, Italians pop into a bar and have a quick tramezzino – a white-bread sandwich with the crusts cut off – and a glass of the local white wine. The Venetian version of this is to head to a bàcaro and order some cicchetti and an ombra.

Cicchetti are tapas-like snacks – crostini with tasty toppings, small panini with delicious fillings, fritti (fried fish) or polpette (meat balls) – that are served in the cheerful bàcari (wine bars) unique to Venice’s winding alleyways. Here, to accompany your cicchetti you will have an ombra, a small glass of local wine.

Near the Rialto Bridge and its markets, you will find lots of little streets

top: Cichetti are small plates of food served in small, local bars all over Venice.

that are unmarked on your map. These little alleyways are full of tiny bàcari where you can get a light, delicious, budget-friendly lunch.

Or why not pop into Cantina Do Spade, which first opened in 1448 and, later, became the regular haunt of legendary lover Casanova, for some polpette, fritti and a quartino of their house wine. Or try their seafood risotto, which comes in starter portions.

You can stand outside on the cobblestones like a real Venetian and eat cicchetti at Al Merca, beside the Rialto Markets or All’ Arco in Calle Arco.

‘Italians are horrified by anyone who would consider drinking milk after 11am, and you will cause quite a stir if you order it after a meal’

above: (left) Coda di rospa is Monkfish; (right) Typical Venetian marzipan cakes.

For fresh fish, beautifully cooked and at a reasonable price, I personally like Osteria Ai 4 Feri in Calle Lunga San Barnaba, not far from the Accademia.

And for a special treat, Trattoria al Gatto Nero on the island of Burano is the place to go. This is where you can sample the local delicacy, Risotto di Go, made from the broth of tiny local fish.

Venice is chock-full of pasticcerie, or pastry shops. I visited Pasticceria Rizzardini, which dates back to 1742, in Campiello dei Meloni, not far from the Rialto Bridge. The shop was full of locals drinking coffee and eating the famous pastries.

The Venetian lady I was with suggested I try a local delicacy, Fiamma Zabajon. This big flaky pastry was filled with zabaglione and was melt-in-the-mouth gorgeous.

If you are a chocolate lover, you need to pay a visit to Tonolo, the famous pasticceria in Calle San Pantalon.

A note on ordering coffee in Italy

Italy has a coffee culture second to none. Coffee is normally drunk while standing at a bar and is knocked back quickly. If you ask for un caffè, it will arrive in a tiny cup and is strong, black Arabica. It is what we call an espresso.

If you want it with a ‘stain’ of foamed hot milk, ask for a caffè macchiato. A cappuccino, with hot and foamed milk, is drunk only at breakfast time, as Italians are horrified by anyone who would consider drinking milk after 11am, and you will cause quite a stir if you order it after a meal. A caffè corretto contains a shot of alcohol, usually grappa.

Caffè Americano is an espresso with lots of hot water and a small jug of milk on the side.

A latte is just milk, as ‘latte’ is Italian for milk, but a caffè latte is hot milk with a shot of espresso added. A caffè lungo is similar to an Americano with less hot water.

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interiors

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